The world famous violinist Holger Brandt comes back to his family after a tour. He and his wife have been married for many years, but their love has gone. Their young daughter gets a new ... See full summary »
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The world famous violinist Holger Brandt comes back to his family after a tour. He and his wife have been married for many years, but their love has gone. Their young daughter gets a new piano teacher, Anita Hoffman. Mr. Brandt fall in love with her and together they go on a world tour. But he soon discovers that the feelings for his wife that he thought were dead return. Written by
The original Swedish version of "Intermezzo" was shown on cable recently. Having seen the American treatment, we felt curious to see how it compared. This film directed by a legend of the Swedish cinema, Gusfaf Molander, is a joy to watch. Mr. Molander also wrote the screen treatment with Gosta Stevens.
The Swedish version shows American audiences a different style of acting. The idea of an older man with a loving family, falling in love with a prettier young woman is the basis of the story. In this version, the difference is more notable because Holger, the famous violinist, looks much older than in the American version. This seems to make a better case for making a case about how ultimately Holger comes back to the family. Also it makes it easier for us to accept the fact that Anita, the young pianist, realizes how deep Holger love for his family, and especially his young daughter, Anne Marie, weighed in her decision to leave him.
The performances are strong. Gosta Elman, one of the best Swedish actors makes a formidable Holger. The young Ingrid Bergman is perfect as the young Anita. Inga Tidblat, the abandoned wife Magrit gives an understated reading to her part. She understands perfectly one day this would happen. Erik Berglund and Hugo Bjorne play Charles and Thomas, Holger's friends who never make any judgment to him, yet one can watch how much they disapprove of this liaison.
The film is as effective as the American remake, although, the latter version seems to have been more fully realized and easy to take than its Swedish one. At any rate, this is a film to witness Gustaf Molander at his best!
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