613-614 Summer Interlude and Summer with Monika

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kinjitsu
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613-614 Summer Interlude and Summer with Monika

#1 Post by kinjitsu » Thu Feb 16, 2012 6:44 pm

Summer Interlude

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Touching on many of the themes that would define the rest of his legendary career—isolation, performance, the inescapability of the past—the tenth film by Ingmar Bergman was a gentle sway toward true mastery. In one of the director’s great early female roles, Maj-Britt Nilsson beguiles as Marie, an accomplished ballet dancer haunted by her tragic youthful affair with a shy, handsome student (Birger Malmsten). Her memories of the rocky shores of Stockholm’s outer archipelago mingle with scenes from her gloomy present, most of them set in the dark backstage environs of the theater where she works. A film that the director considered a creative turning point, Summer Interlude is a reverie on life and death that bridges the gap between Bergman’s past and future, theater and cinema.

Disc Features

- New high-definition digital restoration, with uncompressed monaural soundtrack on the Blu-ray edition
- New English subtitle translation
- PLUS: A booklet featuring an essay by film scholar Peter Cowie

Summer with Monika

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Inspired by the earthy eroticism of Harriet Andersson, in the first of her many roles for him, Ingmar Bergman had a major international breakthrough with this sensual and ultimately ravaging tale of young love. A girl (Andersson) and boy (Lars Ekborg) from working-class families in Stockholm run away from home to spend a secluded, romantic summer at the beach, far from parents and responsibilities. Inevitably, it is not long before the pair are forced to return to reality. The version initially released in the U.S. was reedited by its distributor into something more salacious, but the original Summer with Monika (Sommaren med Monika), presented here, is a work of stunning maturity and one of Bergman’s most important films.

Disc Features

- New digital restoration, with uncompressed monaural soundtrack on the Blu-ray edition
- Introduction by director Ingmar Bergman
- New interview with actress Harriet Andersson, conducted by film scholar Peter Cowie
- New interview with film scholar Eric Schaefer about Kroger Babb and his distribution of Monika, the Story of a Bad Girl! as an exploitation film
- Images from the Playground, a half-hour documentary by Stig Björkman featuring behind-the-scenes footage shot by Bergman, archival audio interviews with Bergman, and new interviews with actresses Bibi Andersson and Harriet Andersson
- Trailer
- New English subtitle translation
- PLUS: A booklet featuring an essay by film scholar Laura Hubner, a 1958 review by filmmaker Jean-Luc Godard, and a publicity piece from 1953 in which Bergman interviews himself

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domino harvey
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Re: 613-614 Summer Interlude and Summer with Monika

#2 Post by domino harvey » Thu Feb 16, 2012 6:47 pm

Sunmer Interlude's the better film and it got shafted, ah well. Wonder why the hell they're talking about the exploit version rather than just showing it? Can we not handle such desecration, o Criterion Gods?

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knives
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Re: 613-614 Summer Interlude and Summer with Monika

#3 Post by knives » Thu Feb 16, 2012 6:49 pm

Are either of these actually good or just early Bergman good? I'm always wary of new Bergman even if it usually turns out well.

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mteller
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Re: 613-614 Summer Interlude and Summer with Monika

#4 Post by mteller » Thu Feb 16, 2012 6:50 pm

domino harvey wrote:Sunmer Interlude's the better film
I've seen each twice and I would disagree, but to each his own and all that. The lack of extras of SI is disappointing, though.

knives: IMHO, Monika is good, Interlude is early Bergman good

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domino harvey
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Re: 613-614 Summer Interlude and Summer with Monika

#5 Post by domino harvey » Thu Feb 16, 2012 6:53 pm

knives wrote:Are either of these actually good or just early Bergman good? I'm always wary of new Bergman even if it usually turns out well.
Summer Interlude's alright (better than any of the titles in the first Eclipse set, at any rate-- faintest praise ever, I know) and I've never been a big fan of Summer With Monika thanks to Bergman's uncharacteristic treatment/use of the titular character, but it's generally considered his best "early" film-- But there are some great Bergman films from this era that I hope receive the Blu treatment and not Eclipse ghettoization, like Music in the Darkness and Waiting Women

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swo17
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Re: 613-614 Summer Interlude and Summer with Monika

#6 Post by swo17 » Thu Feb 16, 2012 6:54 pm

I love it when movies come out during their appointed six month list project window.

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knives
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Re: 613-614 Summer Interlude and Summer with Monika

#7 Post by knives » Thu Feb 16, 2012 6:57 pm

domino harvey wrote: Summer Interlude's alright (better than any of the titles in the first Eclipse set, at any rate-- faintest praise ever, I know) and I've never been a big fan of Summer With Monika thanks to Bergman's uncharacteristic treatment/use of the titular character, but it's generally considered his best "early" film-- But there are some great Bergman films from this era that I hope receive the Blu treatment and not Eclipse ghettoization, like Music in the Darkness and Waiting Women
In regards to Summer With Monika do you mean Mizoguchi-esque torture? I really hope that isn't so.

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kidc85
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Re: 613-614 Summer Interlude and Summer with Monika

#8 Post by kidc85 » Thu Feb 16, 2012 6:59 pm

Has the exploitation MONIKA ever been released on DVD?
knives wrote:actually good or just early Bergman good?
INTERLUDE is actually good, MONIKA is early Bergman good (but definitely one of the better ones).

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domino harvey
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Re: 613-614 Summer Interlude and Summer with Monika

#9 Post by domino harvey » Thu Feb 16, 2012 7:03 pm

Knives, Bergman's attitude towards Harriet Andersson's juvenile sexuality (sensuality?) in the film is what rubs me the wrong way. It never surprised me that most of the Young Turks loved it, though, given their predilections concerning women in film!

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knives
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Re: 613-614 Summer Interlude and Summer with Monika

#10 Post by knives » Thu Feb 16, 2012 7:07 pm

Could you expand. This doesn't sound as bad as I had first assumed with your comment, but I want to hear more before throwing a punch (Summer Interlude is definitely on the docket now).

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Matt
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Re: 613-614 Summer Interlude and Summer with Monika

#11 Post by Matt » Thu Feb 16, 2012 9:46 pm

domino harvey wrote:Sunmer Interlude's the better film and it got shafted, ah well. Wonder why the hell they're talking about the exploit version rather than just showing it? Can we not handle such desecration, o Criterion Gods?
Could just be a case of no decent film elements available or that clips (if they have them) provide an adequate taste of it without including the whole thing.

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puxzkkx
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Re: 613-614 Summer Interlude and Summer with Monika

#12 Post by puxzkkx » Fri Feb 17, 2012 4:53 am

knives wrote:Are either of these actually good or just early Bergman good? I'm always wary of new Bergman even if it usually turns out well.
Summer with Monika I find to be an interesting if not wholly successful departure. Summer Interlude is A-grade and contains one of my favourite leading Bergman performances by Maj-Britt Nilsson, who had a gorgeous sensitivity and presence. What sets these two apart is their luminous summer photography - even in black and white you feel you're getting a tan just by looking at these images. I don't like Harriet Andersson much and I guess your response to Summer with Monika will depend on your response to her, but it is directed with a looseness that was uncharacteristic of Bergman at this point in his career and Lars Ekborg is also good in it.

If we're talking about the best pre-Smiles Bergman films I'd consider those to be Summer Interlude, A Lesson in Love, To Joy and perhaps Dreams.

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Re: 613-614 Summer Interlude and Summer with Monika

#13 Post by Hail_Cesar » Fri Feb 17, 2012 10:50 am

I've seen 30 Bergman films and I'd say those two are among the 10 most important of his to me... Monika influenced a lot the French new-wave awakening a lot and maybe it was my semi depressive state but I found Summer Interlude to be one of his more disturbing last time I saw it 3 years ago... I highly recommend those two to everyone...

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Re: 613-614 Summer Interlude and Summer with Monika

#14 Post by Numero Trois » Fri Feb 17, 2012 12:01 pm

kidc85 wrote:Has the exploitation MONIKA ever been released on DVD?
Since we're talking about the exploitation market, "MONIKA" should be plural. Multiple versions for multiple markets depending of course on local legal conditions and the whims of the distributor or whoever else was responsible for its theatrical release.

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swo17
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Re: 613-614 Summer Interlude and Summer with Monika

#15 Post by swo17 » Fri Mar 16, 2012 2:14 pm

Criterion on Facebook wrote:Hope and heartbreak: We found a 1951 35mm nitrate fine grain of Bergman’s mold-ravaged SUMMER INTERLUDE! Then we opened the can...

This is why film preservation is so important.

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colinr0380
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Re: 613-614 Summer Interlude and Summer with Monika

#16 Post by colinr0380 » Sat May 12, 2012 4:28 pm


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dadaistnun
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Re: 613-614 Summer Interlude and Summer with Monika

#17 Post by dadaistnun » Mon May 14, 2012 2:34 pm


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ptatler
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Re: 613-614 Summer Interlude and Summer with Monika

#18 Post by ptatler » Wed May 23, 2012 8:50 am

Watched INTERLUDE last night. The first 30 minutes had me wondering why this wasn't just a supplement on the MONIKA disc but then it developed into a more compelling story once the tryst really took off. By the end, it was a nicely haunting riff on first love. I felt the melodramatic twist was wholly unnecessary though. It would have been better/less easy without the tragedy. It also reminded me how much I really dug the similarly themed MY SUMMER OF LOVE. I'm looking forward to checking out MONIKA (and her extras) tonight.

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hearthesilence
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Re: 613-614 Summer Interlude and Summer with Monika

#19 Post by hearthesilence » Wed May 23, 2012 9:41 am

swo17 wrote:
Criterion on Facebook wrote:Hope and heartbreak: We found a 1951 35mm nitrate fine grain of Bergman’s mold-ravaged SUMMER INTERLUDE! Then we opened the can...

This is why film preservation is so important.

Image
FWIW, that's actually acetate not nitrate. Nitrate does not spindle and shatter like that, it shrinks and shrivels up (ultimately into something resembling a white donut).

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tachyonEvan
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Re: 613-614 Summer Interlude and Summer with Monika

#20 Post by tachyonEvan » Thu Aug 02, 2012 11:58 am

Can someone please tell me what's so special about Summer With Monika? Watched it for the first time last night, and while there were some interesting shots, I was VERY underwhelmed. Hated the couple, but ended up a bit sympathetic for Harry at the end, but man, these kids were obnoxious and ridiculous. I came away with "that was the point," and it was a cautionary tale/musing on things NOT always going right with young love... but these characters were so frustrating and overall not particularly sympathetic. I mean, sure, Harry's working really hard at the end to make ends meet, and Monika's horrible,
SpoilerShow
but HE IS the one who disappeared for six months WHEN HIS FATHER WAS IN THE HOSPITAL and knocked this girl up. The guy can't even fight. (On that note, the fact that they essentially just let that Lelle guy walk away after he SET FIRE TO THEIR BOAT to make out instead was the living worst.)
The other thing I didn't like - and maybe I'm just an ignoramus here - but the extensive shots of nature. They aren't particularly beautiful shots, in my mind - usually of water or rocks or grass - and they take up a significant portion of this movie. They're just... not interesting, as far as I was concerned.

I dunno, I'm probably coming off EXTREMELY negative here - it wasn't a bad movie by any means. I thought it was extremely mediocre and I don't understand the appeal of these characters, especially if the "sensuality" of Harriet Andersson inspired Bergman to write the role... I think she's unbearable.

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Matt
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Re: 613-614 Summer Interlude and Summer with Monika

#21 Post by Matt » Thu Aug 02, 2012 3:34 pm

As you can surmise by the comments above, people who think this is a good film are few and far between. It is, however, the first internationally commercially successful film by one of the major film and theater figures of the 20th century. So it's essential to understanding Bergman's career and the influence he had on other filmmakers. It's also an important film in the history of international art films, the history of independent film distribution in the US, and the progression of frank sexual content in narrative film.

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tachyonEvan
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Re: 613-614 Summer Interlude and Summer with Monika

#22 Post by tachyonEvan » Thu Aug 02, 2012 4:19 pm

Matt wrote:As you can surmise by the comments above, people who think this is a good film are few and far between. It is, however, the first internationally commercially successful film by one of the major film and theater figures of the 20th century. So it's essential to understanding Bergman's career and the influence he had on other filmmakers. It's also an important film in the history of international art films, the history of independent film distribution in the US, and the progression of frank sexual content in narrative film.
The sexual content wasn't all that frank, and I was expecting much more nudity (was there anything other than a shot of her ass, that was repeated once, later in the movie?) considering everything I'd heard about the controversy.

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knives
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Re: 613-614 Summer Interlude and Summer with Monika

#23 Post by knives » Thu Aug 02, 2012 4:21 pm

That sounds sexy and controversial by '50s standards. I expect there was also thin dress.

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Re: 613-614 Summer Interlude and Summer with Monika

#24 Post by colinr0380 » Thu Aug 02, 2012 4:39 pm

I'm just in shock that anyone would be able to find a scantily clad Harriet Andersson unsexy.

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tachyonEvan
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Re: 613-614 Summer Interlude and Summer with Monika

#25 Post by tachyonEvan » Thu Aug 02, 2012 4:46 pm

No Hays code in Sweden, and wasn't it clear when Ecstacy came out 20 years prior and is practically porn compared to Summer With Monika that "oh man, Europe's so sexually liberated wow"??

Maybe the film's "important" as early Bergman, but even historicizing it, I don't quite see why this movie is SUCH a big deal.

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