The first half recalls Bergman's earlier 'Summer Interlude'. But the second half goes further and explores the 'what if' of the summer romance between teens; moving into parenthood, marriage, and disillusionment.
The acting is excellent, and unlike 'Summer Interlude' these actors look close to the naive age they're playing.
The film's point of view sometimes felt a bit one sided to me with 'bad girl' Monika, from a crude, poor family, less willing to extend herself than her upper-class boyfriend Harry. Of course, along with being selfish she is also the more complex and fascinating character, especially as played by the young Harriett Andersson.
Some critics make the argument – with merit – that the film doesn't judge Monika,the audience does. Indeed, it could be argued that the film is meant to make us question our own judgment of a poor girl who is brought up with dreams of marriage as a glamorous escape, and not just a humdrum existence. It's not for nothing the heroine is obsessed with Hollywood love stories.
Andersson's performance may be the first of the many hyper-real and extremely complex characters in Bergman's body of work, transcending 'type' and moral judgment.
The film was beloved by the French New wave filmmakers, who saw in it's complex attitude (and very brief nudity) a throwing off of the shackles of conventional characters and storytelling.
The acting is excellent, and unlike 'Summer Interlude' these actors look close to the naive age they're playing.
The film's point of view sometimes felt a bit one sided to me with 'bad girl' Monika, from a crude, poor family, less willing to extend herself than her upper-class boyfriend Harry. Of course, along with being selfish she is also the more complex and fascinating character, especially as played by the young Harriett Andersson.
Some critics make the argument – with merit – that the film doesn't judge Monika,the audience does. Indeed, it could be argued that the film is meant to make us question our own judgment of a poor girl who is brought up with dreams of marriage as a glamorous escape, and not just a humdrum existence. It's not for nothing the heroine is obsessed with Hollywood love stories.
Andersson's performance may be the first of the many hyper-real and extremely complex characters in Bergman's body of work, transcending 'type' and moral judgment.
The film was beloved by the French New wave filmmakers, who saw in it's complex attitude (and very brief nudity) a throwing off of the shackles of conventional characters and storytelling.