Roulette of love

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Movie
German title Roulette of love
Original title Karlek 65
Country of production Sweden
original language Swedish , English
Publishing year 1965
length 95 minutes
Rod
Director Bo Widerberg
script Bo Widerberg
music Pieces by Vivaldi
camera Hans Emanuelsson ,
Jan Lindeström ,
Bruno Radström
cut Bo Widerberg
occupation

Roulette der Liebe ( Kärlek 65 ) from 1965 is the third feature film by the Swedish director Bo Widerberg . The film is characterized by strong autobiographical elements from the director. As an admirer of auteur cinema, the main character strives not to express himself too clearly with his own film. As openly as Love 65 began, it ends too. The theme is based on Federico Fellini's eight and a half , the visual style on Michelangelo Antonioni , the dialogues on Jean-Luc Godard . The guest role of a film star was originally supposed to play Widerberg's compatriot Anita Ekberg , but eventually she was cast with Ben Carruthers .

action

In a country house near the coast, surrounded by a lot of open nature, several people gather who are connected in various ways with the famous film director Keve: his wife Ann-Marie, his cross-eyed daughter Nina, and the photo model Inger, with whom he used to be had a relationship. Keve doubts his creativity and struggles to advance his new film project.

When he visits a casual acquaintance, he meets his beautiful wife Eva-Britt. The two fall in love at first sight and meet regularly for sex in an apartment. Ann-Marie feels that her marriage to Keve has been neglected. After a while, Eva-Britt leaves her husband and ends the relationship with Keve. The actor Benito arrives from London, who is supposed to play a role in Keves' film. While Keve lets other people fly kites on the seashore, Ann-Marie has an intimistic conversation about love and life while cooking together. Her hopes of an affair with Ben are dashed because Ben is hooking up with Inger. Because Keve cannot explain his role in the film to Ben, Ben leaves. Inger kills himself with pills.

criticism

Heinz Ungureit said in the magazine : “Widerberg would like to describe his own dilemma as a film director, which is characterized by fear of any particular expression. (...) The lack of energy and decisiveness of this bourgeois intellectual view of Sweden is to be demonstrated in long, hesitant sequences of positions, in quickly cut repetitions, in comparative documentaries. The concentration of Antonioni is of course not achieved. ”The lexicon of international film described the film as“ a mirror of the aesthetic and political debates of the 1960s; a bit confused and half-baked, but sincere in his piercing self-reflection. "

Web links

Individual evidence

  1. ↑ a b Heinz Ungureit : Kärlek 65 . In: Zeitschrift , 1965 pp. 470–471
  2. ↑ Vernon Young: The verge and after: Film by 1966 . In: Hudson Review , Spring 1966, p. 92