Longing of women
| Movie | |
|---|---|
| German title | Longing of women |
| Original title | Kvinnors väntan |
| Country of production | Sweden |
| original language | Swedish |
| Publishing year | 1952 |
| length | 107 minutes |
| Age rating | FSK 12 (formerly 18) |
| Rod | |
| Director | Ingmar Bergman |
| script | Ingmar Bergman |
| production | Allan Ekelund |
| music | Erik Nordgren |
| camera | Gunnar Fischer |
| cut | Oscar Rosander |
| occupation | |
| |
Longing Women (Original title: Kvinnors väntan ) is in black and white twisted Swedish film directed by Ingmar Bergman in the year 1952 .
action
In a summer house, four women, Annette, Rakel, Marta and Karin, are waiting for their husbands to arrive. All four are married to men from the wealthy industrialist family Lobelius. They also have Maj, Marta's younger sister. When Annette confesses that her marriage to Paul Lobelius only exists on paper and, despite mutual respect, lacks any closeness and intimacy, Rakel, Marta and Karin talk about their experiences.
Rakel describes an incident from last year: After cheating on her husband Eugen with her childhood friend Kaj, she confesses her infidelity in the hope that the speechlessness in her marriage may end. Instead, after Eugen has lost his composure for a moment and there is a hint of rapprochement between them, Eugen offers a divorce. Then he locks himself in his hut with a hunting rifle and threatens to kill himself. His brother Paul can talk him out of the plan; Rakel and Eugen stay together without having solved their problems.
Marta tells how she and the young painter Martin met in Paris and how she broke off her engagement for his sake. Shortly after Marta learns that she is pregnant, Martin's father, the head of the Lobelius family, dies. Martin is going back to Sweden so that he can continue to retire and continue his career as an artist. Marta decides to have her child alone and fends off all attempts at contact by Martin. Finally she gives in to his wooing and marries him.
The third episode describes how Karin and her husband Fredrik get stuck in the elevator of their house when they return from a gala evening. After they realize that they will have to spend the night in the elevator, they get closer in the confines of their dungeon and sleep together. The next morning they are released from their predicament, but despite their plans to spend the day together, Fredrik breaks away from her because of business obligations.
After Karin has finished her story, the boat arrives with the husbands. Maj confesses to her sister Marta that she plans to run away with her boyfriend Henrik, Paul and Anita's son. Marta lets her go so that Maj can have her own, even painful, experiences.
background
Production and film launch
Longing for Women was Bergman's first film after the end of the film crisis in Sweden, which was accompanied by strikes and production stops, from 1951 to 1952. Bergman agreed to deliver an audience-effective work based on his own material for the production company Svensk Filmindustri . The shooting took place between April and June 1952 at Råsunda Studios in Filmstaden , on the island of Siarö and in Paris . The film premiered in Sweden on November 3, 1952 and was, as hoped, an audience success.
According to the different characters of the women and their stories, Bergman designed the three episodes very differently in cinematic terms: “The first episode is very chaste, the second is very flexible, and the one in the elevator has a hot, somewhat burlesque tone”. (Bergman) In addition, he designed the middle episode, inspired by Gustav Machatý's films Ekstase und Nocturno , deliberately with very little dialogue, an attempt which he said he only repeated in Das Schweigen . The third episode, which was mostly set in the confines of an elevator, was Bergman's reverence to Alfred Hitchcock , whose long scenes, set in cramped spaces, he admired, as well as the reduction in his films.
The film started in Germany on June 26, 1962, with some cuts.
Position in Bergman's work
The burlesque third episode in Sehnsucht der Frauen (the first two were rather dramatic) was Bergman's first foray into comedy and remained the one with which the entire film was identified. After the blatant failure of Abend der Gaukler (1953), Bergman resorted to the successful pairing Eva Dahlbeck / Gunnar Björnstrand out of longing for women to restore his reputation at the box office, which he lesson in the subsequent three, mostly "lighter" films in Liebe (1954), Frauenträume and The Smile of a Summer Night (both 1955) brought together again.
criticism
"Without making concessions to his standpoint as a performer of human behavior and moralists, [Bergman], in the disguise as a brilliant and witty comedy writer, surprising to everyone, made his most versatile and at the same time most coherent and harmonious film to date."
“Director Ingmar Bergman [shows] a panopticon of failed love and marital relationships [...] Bergman's men are invariably vain prodigies of their sexual instinct. Women find themselves in the egoism of their husbands with mild resignation - if they do not have children themselves, they regard the men as such. In this early work, Bergman deals with his favorite subjects, which were later presented in a more differentiated manner, in woodcut style. "
“In four episodes, based on the case of four married women and a young girl who still believes in boundless love, Bergman demonstrates his (despite everything looking for hope) resigned insight that every longing leads to renunciation, that the early desire for happiness the later modulation with the compromise follows. [...] In spite of all persistently practiced private psychology, this film reveals frustration and alienation, and not only in the area of the erotic, as fundamental social conditions. He does it especially where Bergman avoids the theses-like dialogues and emphasizes the seemingly pure ironic, invents situations that suggest a happy outcome and yet only turn out to be more elegant forms of the old idle. "
“At one point the film offers witty and witty marriage psychology, but at other points it expands a little too much of the emotional depths. Only very attentive, adult viewers will notice a glimmer of hope behind the obvious resigned attitude. "
Web links
- Longing of women in the Internet Movie Database (English)
Individual evidence
- ^ Hauke Lange-Fuchs: Ingmar Bergman: His films - his life, Heyne, Munich 1988, ISBN 3-453-02622-5 , pp. 90-94.
- ^ Desire of women on the website of the Ingmar Bergman Foundation, accessed on September 19, 2012.
- ↑ a b Ingmar Bergman: Pictures, Kiepenheuer and Witsch, Cologne 1991, ISBN 3-462-02133-8 , p. 254 u. 260.
- ^ Stig Björkman, Torsten Manns, Jonas Sima: Bergman on Bergman, Fischer, Frankfurt 1987, ISBN 3-596-24478-1 , pp. 85-87.
- ^ Desire of Women in the Lexicon of International Film .
- ^ Hauke Lange-Fuchs: Ingmar Bergman: His films - his life, Heyne, Munich 1988, ISBN 3-453-02622-5 , p. 110 ff.
- ↑ Quoted in the entry on the desire of women on the website of the Ingmar Bergman Foundation, accessed on September 19, 2012.
- ↑ Review in Der Spiegel No. 31/1962 from August 1, 1962, accessed on September 19, 2012.
- ↑ Review in Die Zeit No. 28 of July 13, 1962, accessed on September 19, 2012.
- ↑ Ev. Munich Press Association, Review No. 342/1962