Criterion | 1955 | 108 min | NR
Released in 1955, Ingmar Bergman’s 16th film, Smiles of a Summer Night would give the director his first taste of international success. Few would argue that Bergman was very serious director. While there are a few comedic scenes sprinkled throughout his more serious work, those instances are few and far between. Smiles of a Summer Night isn’t unique in that it can be classified as a comedy; it’s just that the other comedies (A Lesson in Love, Secrets of Women, Devil’s Eye, Now About These Women) tend to be among his weaker films. However, Smiles is an unqualified masterpiece.
At its heart, Smiles is a combination romantic comedy involving switching partners, and a country house play that was typical of Britain and Europe, but almost unknown in the States. Written by Bergman, the story is set at the turn of the century. Fredrik Egerman (Gunnar Bjornstrand) is a wealthy, forty-something lawyer married to virginal 19-year-old Anne (Ulla Jacobson), who clings to her innocence despite being in her second year of marriage. Though Fredrik loves Anne, it’s in a more protective, parental manner. He often addresses her as one of his “children” alongside Henrik (Bjorn Vjelvenstam), his priesthood-bound son from a previous marriage. Anne clearly harbors deep affection for the Martin Luther-quoting Henrik, who is tortured by the carnal desires stoked by the flirtatious maid, Petra (Harriet Andersson).
With Fredrik’s sexual needs not being met at home; he looks to reacquaint himself with a former lover, actress, Desiree Armfeldt (Eva Dahlbeck). Making the situation particularly interesting, Desiree has a son bearing the lawyer’s moniker. However, while Desiree still thinks of Fredrik warmly, she is now the mistress of duelist, Carl-Magnus Malcolm (Jarl Kulle), who happens to be married to Anne’s best friend, Charlotte (Margit Carlqvist).
Wanting a reunion with Fredrik, Desiree arranges for her mother (Naima Wifstrand) to invite the Egerman’s along with Henrik and the Malcolm’s to a weekend house party at her country estate. There she hopes to mix the couples up into more satisfying combinations, but even she couldn’t predict the events of a most tumultuous weekend. You’ll never see a dinner scene quite as memorable or as haunting as the one staged here. Given the events that follow, Bergman has played every emotion pitch perfect.
Every performance here is spot on. Though the performance of Björn Bjelfvenstam as the tortured son Henrik deserves special praise; though he feels in his soul a call to the priesthood, he must struggle to deal with sexual stirrings he’s never felt throughout. Bjelfvenstam does a great job of expressing that conflict, often through facial expression or movement. As the lawyer, Gunnar Bjornstrand is properly stiff, Ulla Jacobsson is delightfully naïve as his young wife, Eva Dahlbeck is full-blown as the mistress and Margit Carlquist is a delicate flower as the wife of the bully.
Smiles of a Summer Night is probably one of Ingmar Bergman’s most accessible films. If you’ve avoided his work because of his tendency toward the serious, this would be a great place to start. Though there are some serious movements here to be sure, this is Bergman’s humor at its best.
Another excellent 1080P transfer from Criterion. Contrast is rich and full, detail quality is impressively clear, and the transfer print utilized has been cleaned up in a truly exceptional fashion. And this 1080p presentation allows for wonderful, film-like warmth. grain is handled expertly. No compression, artifacting, or edge enhancement.
The lossless mono mix is solid. There’s a tinniness here, sure, but that’s what movies sounded like in the 1950s. Dialogue, music, atmospherics – everything appears to come through exactly as it should. English subtitles are included.
- Ingmar Bergman introduces the film (3:45, 1080i) Filmed in 2003, the director introduces the film with a few memories.
- Peter Cowie and Jörn Donner (16:45, 1080i) Both Bergman scholars, the two discuss the film in detail including, including the careers of some of the actors, the themes, its reception and enduring legacy. Donner is also a writer, and served as executive producer on Fanny and Alexander.
- Original Theatrical Trailer (2:00, 1080i)
- Booklet: An essay by theater and film critic John Simon, and a 1961 review by critic Pauline Kael.
