Monica e il desiderio

Nouvelle vague from Skandinavia. It is one of those films in Bergman's oeuvre which hasn't completely lost the hope for the good and love yet and from that period, Sommaren med Monika is probably his most impressive work. The film is an ode to the vitality and joie de vivre of the youth, about it's rebellion and breaking out, exploring and checking and therefore, compared to Bergman's sixties, a pretty hopeful take on life. For the first half at least, until the couple is confronted with reality after a few days of liberation and from now on, they have to suffer the loss of their courage, spirit of adventure, the faith in each other and consequently the loss of their young love. The wonderful time with Monika does not remain - the only thing everyone can bank on.

It's remarkable, now from a perspective of more than 50 years ahead, how this film is (also) a homage to Harriet Andersson. At that time, there hardly was a similarly fresh, natural and at the same time sublime appearance in Europe's auteur cinema. With every shot, Bergman and cinematographer Gunnar Fischer capture her beauty and lightness perfectly. In one of the earliest nude scenes of European cinema they underline her innocent naturalness and love for nature, a naturalism in acting which is Andersson's strength when you think of the death scene in Cries and Whispers or the madness of Karin in Through a Glass Darkly. Her face, her entire guise stands, next to Liv Ullmann's, Bibi Andersson's or Ingrid Thulin's, for more than half a decade of superb Swedish cinema history.

Monika feels trapped, in despair, her future is bleak and laid bare, she needs to break free, escape, run and flee, with a boy who is willing to care.

Harry is a boy that can care, spends his days wishing he was elsewhere, now he's met a nice girl, and they're off for a whirl, a summer like no other can compare.

To love, through a long hot summer, without a care or a bother, just to be in the arms of each other, to smother, enrapture and cover - what could possibly go wrong! Monika and Harry find the inevitable fork in the road, where habit and repetition branch from joy and satisfaction, and sacrifice will not recompense or suffice, at least for one.

Contains that look that says it all.

Ingmar Bergman's Monika (Summer with Monika) (1953) is the story of two Stockholm teenagers, stock boy Harry (Lars Ekborg) and voluptuous, impulsive Monika (Harriet Andersson), who meet and fall in love and run away for a summer on a motorboat on the Stockholm archipelago escaping from work and all responsibility. Monika becomes pregnant and they return to the city and marry – but things turn bad. This first powerful feature by the Swedish master is simple and sweet but nonetheless rich in emotional wrenching events. The film, which depicts teenage unwed sex, was shockingly sensual for its time. In 2006 the intensity of Harriet Andersson's uninhibited performance is still impressive and this story is just as heartbreaking as it was over half a century ago.

Presented as part of the Janus Films sidebar of the 2006 New York Film Festival at Lincoln Center in another gorgeous pristine-looking new print with a rich black and white tonal range that may look better than the original did.

Sommaren med Monika, often translated as Monika, the Story of a Bad Girl, but directly it is Summer with Monika, I prefer the latter. Summer with Monika is Ingmar Bergman's early masterful classic. It's European modernism and as many of Bergman's films of that era, this film too dealt with social issues. Even that Ingmar Bergman himself was from a bourgeois family, Summer with Monika builds around the working class. It's a story about two youngsters who fall in love and start living a life of their own.

Monika is a minor girl who doesn't get along with her parents. Her only escape from the harsh family life is romantic cinema and her boyfriend, Harry. In result of the distressing life Monika and Harry escape the city to archipelago for the summer. When the summer's over and they come back, the love between them starts to fade.

I have yet not seen as strong film about young parenthood as this. It shows the truth in a very realistic light, Bergman doesn't add any glamor to its characters' lives, which he never does. This is the social theme of Summer with Monika, young parenthood and the subject is still very current, which makes the film timeless. No director of today has succeed in making as good description of the life like that.

Summer with Monika is so beautifully made that it delights you. The plot also has some points that delight the audience, but I was mostly touched by the beauty of the narrative and cinematography. Both of these are clearly European modernism in Summer with Monika. The camera goes behind the reality, it shows the true emotions of the characters. A very impressive scene of the film is when Monika watches directly to the camera. This shocking destruction of the fourth wall and the illusion of cinema, was probably the first one ever made. My information of this is not accurate or reliable, but at least Summer with Monika was one of the first ones, that did this.

A very powerful film of love, youth, parenthood, frustration and life.

A sad tale of two lovers who meet in a high emotional state and break up because the lady, Monika becomes bored with the relationship. About the highs and lows of love. Very beautiful in depicting the relationship between Harry and Monika. Its easy to sympathize with Harry because no matter how hard he tries to make Monika happy he always seems to fail. It was during the filming of this movie that Ingmar Bergman left his wife for the actress, Harriet Andersson(an act which he would regret and influence him for the rest of his career). This act would greatly influence Wild Strawberries(1957), Persona(1966), The Touch(1971), Cries & Whispers(1972), and would inspire the Liv Ullman film, Faithless. The director delivers a film of powerful emotions and raw feelings. Harriet Andersson is magnificent as the title character. Sommaren Med Monika/Monika(1953) is the first of many great motion pictures for the legendary filmmaker and visual poet, Ingmar Bergman.