Evening of jugglers
| Movie | |
|---|---|
| German title | Evening of jugglers |
| Original title | Gycklarnas afton |
| Country of production | Sweden |
| original language | Swedish |
| Publishing year | 1953 |
| length | 93 minutes |
| Age rating | FSK 16 |
| Rod | |
| Director | Ingmar Bergman |
| script | Ingmar Bergman |
| production | Rune forest wreath |
| music | Karl-Birger Blomdahl |
| camera |
Hilding Bladh Sven Nykvist |
| cut | Carl-Olov Skeppstedt |
| occupation | |
| |
| synchronization | |
Sawdust and Tinsel (Original title: Gycklarnas afton ) is in black and white twisted Swedish film drama by Ingmar Bergman from the year 1953 .
action
Director Albert Johansson's run-down “Cirkus Alberti” stops in the city where Albert separated from his wife Agda and his two sons years ago. He visits theater director Sjuberg, who is also in town, to borrow costumes for the circus premiere evening. Sjuberg humiliates Albert, but agrees to provide him with the desired costumes from the theater fund. Frans, an actor from Sjuberg's ensemble, openly courted Albert's friend Anne, but she rejects him. Later on, Albert and her quarrel when he is preparing to visit Agda and his sons. Anne announces that she will not wait for his return.
Albert visits Agda in the tobacco shop she runs. Despite the emptiness he feels in the predictable life she leads, he asks her to return to her. Agda rejects him because she does not want to give up the freedom she has found again. In the meantime, Anne visits Frans. When she undoes her announcement that she will get involved with him, he makes her will with a mixture of coercion and material promises. On the way home Albert sees Anne leaving the theater and going to the jeweler in order to convert her, as it turns out, worthless “wages” into cash. Anne later confesses to Albert during an argument that she was flinging. Albert gets drunk, then orders his troops to prepare the evening gala performance.
The townspeople and Sjuberg's theater group attend the evening performance. There is a dispute between Albert and Frans, in which Albert is defeated. Albert locks himself in his circus wagon and puts a revolver to his temple, but when he pulls the trigger, the gun chamber is empty. He looks for the cage of the circus bear and shoots the animal in a substitute act, then gives instructions to break down the tent and move on. He runs after the motorcade on foot. Anne joins him and together they continue on their way.
background
Production and film launch
Night of the Jugglers was the first of two Bergman productions by the film distributor Sandrew . The film was made between February and June 1953 and ran in Sweden on September 14 of the same year. In the cinemas of Germany , he started on 2 December 1958 on 7 June 1970, he was first on television the GDR broadcast.
Position in Bergman's work
Bergman worked for the first time with his later long-time cameraman Sven Nykvist at Abend der Jaukler . Nykvist stepped in because Hilding Bladh was unable to photograph the entire film due to other contractual obligations. The next Bergman-Nykvist project together was Die Jungfrauenquelle - from 1961 to 1983 Nykvist shot continuously for Bergman. The evening of the jugglers was also the first work of costume designer Max Goldstein alias “Mago” for the director.
In his work monograph Bilder, Bergman openly admitted the biographical parallels of the film, which he called “comparatively honest and shamelessly personal”. Bergman had divorced his third wife Gun Grut in 1952 (this marriage he addressed in Wilde Erdbeeren in 1957 ) and had a relationship with his leading actress Harriet Andersson . Regarding the casting of the main character with Åke Grönberg , he said: "If a lean and tenacious director wants to deliver a self-portrait, he of course chooses a man who is fat."
The film received both positive and scathing reviews, but it was an "economic fiasco" at the box office. As a result, Bergman made a number of lighter films such as Lesson in Love and Women's Dreams . In retrospect, film historians such as Peter Cowie , Gösta Werner and Vernon Young rated Abend der Jaukler as a milestone in Bergman's work.
analysis
Bergman named "eroticism and humiliation in changing combinations" as the main theme of the film. When asked by interviewers whether the opening scene, in which the clown Frost is made a mockery in front of his artist colleagues and a group of soldiers, was influenced in the design of Sergei Eisenstein's battleship Potemkin , Bergman answered in the negative, as did the question of possible symbolic content in the Shooting of the circus bear: “For me there is no symbolism in it. Albert has to hurt someone. [...] He has a need to do something cruel. ” Bergman also rejected the possibility of August Strindberg's influence . He saw the greatest commonality in the film Varieté (1925), in which a circus artist leaves for his beloved wife and child and later kills the lover of his new partner. Bergman: "[The movie] fascinated me so much that I consciously imitated it."
Reviews
Criticism in Sweden was divided. While Morgontidningen was talking about Bergman's best film, the reviewer of Aftonbladet refused, in his own words, to take a closer look at the “vomit”. In contrast, the film found positive reception in France .
The lexicon of international films wrote: “A sad contemplation of the inability of man to be able to evade his predetermined life drama. Through the forcefulness of the psychological drawing, the masterful formal design and the seriousness of the purely this-worldly attitude, an intense and timeless parable of the burden of human existence has emerged. "
Web links
- Sawdust and Tinsel in the Internet Movie Database (English)
Individual evidence
- ↑ a b Evening of Jugglers on the website of the Ingmar Bergman Foundation , accessed on August 8, 2012.
- ↑ a b Evening of Jugglers in the Lexicon of International Films .
- ↑ a b Ingmar Bergman: Pictures, Kiepenheuer and Witsch, Cologne 1991, ISBN 3-462-02133-8 , pp. 13-25 u. 164-168.
- ^ A b Hauke Lange-Fuchs: Ingmar Bergman: His films - his life, Heyne, Munich 1988, ISBN 3-453-02622-5 , pp. 105-107 u. 112.
- ^ Stig Björkman, Torsten Manns, Jonas Sima: Bergman on Bergman, Fischer, Frankfurt 1987, ISBN 3-596-24478-1 , pp. 94-115.
- ↑ Interview with Charles Samuals in Encountering Directors, Capricorn Books, New York 1972, pp. 179–207 ( online ( memento of June 13, 2013 in the Internet Archive ) on Bergmanorama, accessed on September 10, 2012).