Till glädje (1950)

Director:

Ingmar Bergman

Writer:

Ingmar Bergman (writer)

Release Date:

20 February 1950 (Sweden)

Genre:

Drama

Plot:

Two violinists playing in the same orchestra fall in love and get married, but they can't get along.

Plot Keywords:

Orchestra | Violinist | Musician | Old Man | Soloist

Cast

Maj-Britt Nilsson	...	Marta Olsson
Stig Olin	...	Stig Eriksson
Birger Malmsten	...	Marcel
John Ekman	...	Mikael Bro
Margit Carlqvist	...	Nelly Bro
Victor Sjöström	...	Sönderby

Also Known As:

To Joy

Runtime:

98 min

Country:

Sweden

Language:

Swedish

Color:

Black and White

Aspect Ratio:

1.37 : 1

Sound Mix:

Mono

Certification:

Finland:K-11 (1984) | Finland:K-16 (1959) | Sweden:15 | Argentina:16 | UK:PG

Filming Locations:

Arild, Skåne län, Sweden

Company:

Svensk Filmindustri (SF)

Trivia:

One of four Ingmar Bergman films never released theatrically in the US, although it did appear in America on videotape in 1984.

Movie Connections:

Featured in Victor Sjöström: Ett porträtt (1981)

Soundtrack:

SYMPHONY NO 9, OP. 125 ('AN DIE FREUDE')

My brief review of the film

Although the plot of this film is rather simple - a man reflecting on the good and bad times that he had with his wife - it is handled well by Bergman, who gives the film an interesting audio and visual side, including creative editing changes, and at least one meaningful aerial shot early on the piece. The protagonist and his wife are concert musicians, and in the first few scenes, and in some later on, non-original music is used superbly to coincide with the action on screen. There are however a few concerts scenes that may have been better had they been trimmed in length, as seeing a whole concert performed is not necessary in the story. Although the film is mostly a series of memories, there is also one is ill-judged point in which a character other than the protagonist starts to narrate events, which is not possible in the way the story is told. Also, there is room to complain about the film being a bit too literal, but there is hardly reason to concentrate on the drawbacks of the film when it is such a delight to watch, and so well done where it is well done. Victor Sjöström, as the maestro, delivers fine support, and the film is an excellent example of great visual storytelling. In the years after this, Bergman would go on to direct more complex films that would require more skill on his behalf, but this early entry still stands up fairly well, even if not up to the standard of some of his latter work. The final sequence is especially well done, both in how it uses music, and in the contrast that it has to the first scene in which the man's son is seen.