This film hits a depth like no other.
Summer with Monika.
I should have said, nothing is more persistent than love.
And the ups and downs of love are painted by Ingmar Bergman in their greatest glory and most miserable despair.
Two kids rebelling.
There are moments which presage Pierrot le fou.
On the beach.
In the most carefree sense. And also in the Neil Young sense.
Two characters attracted to one another.
One freewheeling. The other a more reserved being.
Several dreams interwoven.
Security. Tenderness. Camaraderie. Courage.
Harriet Andersson is the star. Shining bright.
Pursuit of the elements.
“Slip inside my sleeping bag” as ZZ Top sang.
Two kids against the world.
Such a sparse recounting.
Bergman showing the unique pressures of young women.
But everything is so sweet.
With a girl not afraid.
To take the role of the man.
Not let life pass by.
This film made an immense impression on me when I first saw it.
Almost like Tropic of Cancer shuffled with Tropic of Capricorn and compressed to a pamphlet.
But it feels epic.
Film does that.
We can feel everything in an hour and a half.
We can shake our asses in three minutes.
Get the message in 30 seconds.
But life intervenes.
And we have to make some ugly choices.
We must pawn our scant comforts.
And aspire to one day again achieve “augmented survival”.
Monika wants nothing to do with it.
Her Henry Miller streak is longer.
And it’s pretty ugly.
Though she played the most beautiful hippie before beatniks even snapped.
Up and down.
Gives you the bends.
Few films capture the razor’s edge of pleasure and pain…the excruciating detail of ecstasy and sad panic.
Bergman was a master. Along with Wild Strawberries, this is his true winner.