Törst (1949)

User Rating:

6.7/10   

Director:

Ingmar Bergman

Writers:

Herbert Grevenius (writer)
Birgit Tengroth (novel)

Release Date:

11 July 1961 (USA)

Genre:

Drama

Tagline:

A great new Swedish hit by the maker of "Monika" and "Illicit Interlude"

Plot:

Several stories by Birgit Tengroth intertwine. In 1946, nervous ballet dancer Rut and her husband Bertil...

Plot Keywords:

Ballet | Lesbian | Train | Abortion | Marriage

Cast

Eva Henning	...	Rut
Birger Malmsten	...	Bertil
Birgit Tengroth	...	Viola
Hasse Ekman	...	Dr. Rosengren
Mimi Nelson	...	Valborg
Bengt Eklund	...	Raoul
Gaby Stenberg	...	Astrid
Naima Wifstrand	...	Miss Henriksson
rest of cast listed alphabetically:
Verner Arpe	...	German ticket collector
Calle Flygare	...	Priest
Sven-Eric Gamble	...	Glass worker
Helge Hagerman	...	Priest
Else-Merete Heiberg	...	Norwegian lady
Estrid Hesse	...	Patient
Gunnar Nielsen	...	Assistant doctor
Sif Ruud	...	Widow
Monica Weinzierl	...	Girl on train

Also Known As:

Thirst (USA)
Three Strange Loves

Runtime:

83 min

Country:

Sweden

Language:

Swedish | German

Color:

Black and White

Aspect Ratio:

1.37 : 1

Sound Mix:

Mono

Certification:

Argentina:16 | Finland:K-16 | Sweden:15 | UK:15

Filming Locations:

Hamburg, Germany

Company:

Svensk Filmindustri (SF)

Bergman perfects his direction of photography and actors

I thought I had seen every Bergman film ever made, so I was thrilled to stumble onto this one the week after he died. I had no trouble following the intertwining stories because I kept track of the characters' names and their relationships. So what confused many viewers seemed totally justified, especially compared to films in our post-Altmam era where more and more we see "stories" where seemingly unconnected people's lives crisscross and are junxtaposed ("Magnolia," and "Babel" to name a few).

The filming is fantastic for the time and prefigures the use of close ups in "Through a Glass Darkly." Very different from "Port of Call" just before and "To Joy" just afterwards. I found the film less bleak than "Prison," its lyrical moments prefiguring "Summer Interlude," one of my favorite early Bergmans.

The lesbianism was blatant enough for me, much more obvious than in "Young Man With A Horn," made around the same time in the US. Curiously, this section of the film helped illuminate Bergman's use of the theme in "The Silence," and this makes me want to view that film again. The fact that this is a film Bergman didn't write is intriguing, because he harmonizes his visual language to the rhythms of the screenwriter's oral one. The dialog was rather light for the seriousness of the situations. Perhaps Bergman himself would have been heavier-handed.

Lastly, there are the actresses, and here Bergman's direction of actors seems to solidify, as I find his previous films much more uneven on this score. Here the women, especially the young dancer, show real depth.

Keep in mind that this is not his first film, but still an early work, a seed that will grow into later masterpieces. Then you won't be disappointed, even after the mediocre last minutes of a work that definitely showed promise.