Rumo à Alegria

Although the plot of this film is rather simple - a man reflecting on the good and bad times that he had with his wife - it is handled well by Bergman, who gives the film an interesting audio and visual side, including creative editing changes, and at least one meaningful aerial shot early on the piece. The protagonist and his wife are concert musicians, and in the first few scenes, and in some later on, non-original music is used superbly to coincide with the action on screen. There are however a few concerts scenes that may have been better had they been trimmed in length, as seeing a whole concert performed is not necessary in the story. Although the film is mostly a series of memories, there is also one is ill-judged point in which a character other than the protagonist starts to narrate events, which is not possible in the way the story is told. Also, there is room to complain about the film being a bit too literal, but there is hardly reason to concentrate on the drawbacks of the film when it is such a delight to watch, and so well done where it is well done. Victor Sjöström, as the maestro, delivers fine support, and the film is an excellent example of great visual storytelling. In the years after this, Bergman would go on to direct more complex films that would require more skill on his behalf, but this early entry still stands up fairly well, even if not up to the standard of some of his latter work. The final sequence is especially well done, both in how it uses music, and in the contrast that it has to the first scene in which the man's son is seen.

When you set up shop and form a marriage, you need to acquire a rather large carriage, to shackle yourselves to, and fill it with you, just make sure you've got plenty of storage. Now your carriage will have many seals, but occasionally these become unpeeled, you'll both try and unpick, then resolutely re-stick, as you turn it into a big wheal. Far too often the damage is done, and the carriage just runs out of fun, so you fill it with distraction, which leads to inaction, the start of the end has begun. This all happened to Stig and to Marta, but they managed to find a big plaster, until one fateful day, something got in the way, with a carriage derailing disaster.

There are some things you can't foresee but they usually result because of a lack of vision.

Ingmar Bergman's "To Joy" (Till glädje) is one of his earlier films. It opens and ends with a community orchestra and choir playing Beethoven's Ninth Symphony.

The story features the courtship and marriage of Stig Eriksson and Marta Olsson, who met while playing violin in the orchestra. Victor Sjöström, who stars in "Wild Strawberries" is the conductor of the orchestra. At the beginning of the film we learn that Marta has been killed in an accident at their summer cottage. It's followed by a long flashback about their tempestuous relationship.

Stig believes himself a skilled player and dreams of a solo career, but his hopes are dashed in one disastrous performance. Stig and Marta have a troubled relationship, but the last several years have seen reconciliation and joy.

It is said the film is semi-autobiographical about Bergman's first two marriages. I found the film an engaging reflection of a couple working through their first six or seven years of marriage.

This seems to be a deeply personal work for Bergman, and it's interesting that the backdrop to the story is classical music. We get extended sequences of an orchestra practicing or performing, and the music exudes a feeling of being grand, joyful, perfect, and immortal, whereas by contrast the lives of these characters are small, sad, flawed, and fleeting. It's hard to know how much of the story is Bergman flagellating himself for the failure of his second marriage and his inadequacies as a young artist, but regardless, I love the film for its raw honesty, and for showing the husband to be the childish, insecure, and selfish one in this couple's marriage. They both seem to seek authenticity and meaning early on in their relationship, and start off their marriage promising to be honest and kind to one another, but inevitably things deteriorate, the entropy of which is (in various forms) a recurring theme in Bergman's work.

I loved the shot on the boy at the end, it's powerful, but in the overall scene, I would have preferred an even more somber sequence amidst that soaring music. (It's hard to believe I'm saying I would have preferred something being more somber in a Bergman film, so I hope that's not saying more about me than I'm saying about the film, hehe) Anyway, it was wonderful to see legendary director Victor Sjöström as the cranky orchestra conductor, just as he'd appear later for Bergman in 'Wild Strawberries,' and look for Bergman himself in a cameo in the doctor's office.

A few quotes: Bergman seemingly through Stig (Stig Eriksson): "I'll tell you the secret of real art. It's created when you're unhappy. I prefer being unhappy. God knows it's the state I usually find myself in."

And maybe Bergman through Marta (Maj-Britt Nilsson): "There's so much misery, laziness, and indifference, in body and in mind. In the end you don't believe in anything. You think that's just how it is. That's the whole meaning. (Stig: There doesn't have to be a meaning.) Yes there does. If there isn't, you make you one up. Otherwise you can't go on living."

And lastly this one, Bergman on music in 1960: "I would say that there is no art form that has so much in common with film as music. Both affect our emotions directly, not via the intellect. And film is mainly rhythm; it is inhalation and exhalation in continuous sequence. Ever since childhood, music has been my great source of recreation and stimulation, and I often experience a film or play musically."

Stig and Marta are two young musicians playing together in a Swedish orchestra. They meet, they fall in love and they get married. If this synopsis leaves you expecting a romantic film, you'll be disappointed to find out a rough, realistic, yet very sentimental piece of art.

In this film, Bergman uses a quite interesting storytelling method that works really effectively. Although the way their marriage ends is revealed to us in the opening sequence making the rest of the film a flashback (a technique with which Bergman is already familiar with), when the movie reaches its final scene, one can't help but be extremely moved by the way things end up.

Once again, the performances are great and it is clear that these actors open up their own private world for all of us to see, and they can do that simply because they feel comfortable with a director like Bergman. They know they are in safe hands. Victor Sjostrom definitely steals the show (and Bergman will work with him again in Wild Strawberries), but it is the face of Maj-Britt Nilsson (Marta) that will remain in your mind for a long time.

Already in these early films of his, the Swedish master shows his love for close-ups. He likes to diminish the distance between the audience and the actors, especially their faces, sharing the belief that not only their eyes, but also the texture of their skin can reveal to us a whole lot of things about the characters. After all, close ups are one of the great advantages of cinema that have ultimately become one of the most characteristic building blocks of this art form, and Bergman working simultaneously in the theatre, is very much aware of that. Although the extreme close ups are easier to notice and admire, Bergman has also a great arsenal of shots and camera movements that so easily uses in this film. The shots of the orchestra performing either from high above or through the musicians, shows a camera that can move constantly but also in a discreet and, one could say, abstract way. He also proves to be very capable with mise-en-scene, as deep-focus long takes are used in several scenes.

The use of music is also notable, as you will definitely see for yourselves in the remarkable montage sequence in the ending. Classical music is of course common in the director's filmography, but it follows certain stages that are worth mentioning. In his first period, in which "To Joy" is definitely included, Bergman uses pieces performed by large orchestras, grandiose in a way. And it's certainly no coincidence that in these films, a great number of characters are used for narrative purposes (surely Stig are Marta are in the foreground, but there's also the conductor, Sonderby, the mistress and her old husband, Marcel and a few others). But from early 60's on, begins a period in which Bergman uses music of a smaller scale (especially string quartets) and in these films very few characters are introduced to us and, very often, in an isolated place (e.g. Through a Glass Darkly, Silence, Persona).

If you watch carefully this film, you will see many signs of what Ingmar Bergman is going to evolve to. His dramatic approach in human relationships and his effort to capture those moments between two heartbeats, between two lovers. But also his realistic point of view, especially when it comes to marriage (as Scenes From a Marriage a good 20 years after will confirm). A very good film.