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Summer Interlude (1951) More at IMDbPro »Sommarlek (original title)


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Release Date:
26 October 1954 (USA) See more »
The most INTIMATE love story ever told See more »
While waiting for the night rehearsal of the ballet Swan Lake, the lonely twenty-eight year-old ballerina Marie receives a diary through the mail... See more » | Add synopsis »
1 nomination See more »
User Reviews:
The first masterpiece of the great Swedish master See more (20 total) »


  (in credits order) (verified as complete)
Maj-Britt Nilsson ... Marie
Birger Malmsten ... Henrik
Alf Kjellin ... David Nyström
Annalisa Ericson ... Kaj, ballet dancer
Georg Funkquist ... Uncle Erland
Stig Olin ... Ballet Master
Mimi Pollak ... Mrs. Calwagen, Henrik's aunt
Renée Björling ... Aunt Elisabeth
Gunnar Olsson ... The Priest
rest of cast listed alphabetically:
Emmy Albiin ... Uncle Erland's faithful old servant (uncredited)
Gerd Andersson ... Ballet dancer (uncredited)
John Botvid ... Karl, janitor at the (uncredited)
Ernst Brunman ... The captain (uncredited)
Julia Cæsar ... Maja, dresser (uncredited)
Eskil Eckert-Lundin ... Orchestrator at the theatre (uncredited)
Carl-Axel Elfving ... Man delievering flowers to Marie (uncredited)
Douglas Håge ... Nisse, janitor at the Opera (uncredited)
Torsten Lilliecrona ... Ljus-Pelle (uncredited)
Sten Mattsson ... Sailor on the boat (uncredited)
Olav Riégo ... The doctor (uncredited)
Monique Roeger ... Ballet dancer (uncredited)
Marianne Schüler ... Ballet dancer (uncredited)
Gun Skoogberg ... Stand-in for (uncredited)
Göte Stergel ... Ballet dancer (uncredited)
Carl Ström ... Sandell (uncredited)
Gösta Ström ... Karlsson, at the theatre (uncredited)
Fylgia Zadig ... Nurse (uncredited)

Directed by
Ingmar Bergman 
Writing credits
(in alphabetical order)
Ingmar Bergman 
Herbert Grevenius 

Produced by
Allan Ekelund .... producer
Original Music by
Erik Nordgren 
Bengt Wallerström (uncredited)
Cinematography by
Gunnar Fischer 
Film Editing by
Oscar Rosander 
Production Design by
Nils Svenwall 
Makeup Department
Carl M. Lundh .... makeup artist
Production Management
Gösta Ström .... unit manager
Sound Department
Sven Hansen .... sound
Sven Rudestedt .... sound mixer (uncredited)
Aaby Wedin .... sound (uncredited)
Camera and Electrical Department
Louis Huch .... still photographer (uncredited)
Bengt Järnmark .... assistant camera (uncredited)
Animation Department
Rune Andréasson .... animator (uncredited)
Music Department
Eskil Eckert-Lundin .... conductor (as E. Eckert Lundin)
Other crew
Ingegerd Ericsson .... script supervisor (uncredited)
Sol-Britt Norlander .... script supervisor (uncredited)
Crew verified as complete

Production CompaniesDistributorsOther Companies

Additional Details

Also Known As:
"Sommarlek" - Sweden (original title)
"Illicit Interlude" - USA
"Summerplay" - International (English title)
See more »
96 min
Aspect Ratio:
1.37 : 1 See more »
Sound Mix:
Argentina:13 | Finland:S | Portugal:M/12 (Qualidade) | Sweden:15 | UK:A (original rating) | UK:PG (video rating) (1994) | USA:Not Rated

Did You Know?

Marie:Let me mourn my youth alone.See more »
Movie Connections:
Swan LakeSee more »


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2 out of 2 people found the following review useful.
The first masterpiece of the great Swedish master, 8 January 2015
Author: ian-ference from United States

On the face of it, "Summer Interlude" is a fairly straightforward narrative; a ballerina (Marie, masterfully played by Maj-Britt Nilsson) in her late 20s (so in the ballet world, nearing the end of her career) seems detached from the world. She lives with a fairly stolid and boring tabloid journalist (David, in a wonderfully understated performance from Alf Kjellin), but doesn't seem terribly invested in their relationship. On the day of the dress rehearsal before opening night, a package arrives containing a journal - she opens the journal, and suddenly she feels emotion again - as if part of an interior wall is starting to crack. She takes a ferry out to an island where she spent her childhood summers, and flashes back to a summer romance that occurred there in her teenage years - and thus a complex, beautiful, and tragic story begins.

This is considered by most - including the Swedish master himself - to be Bergman's first mature film as a director, and with good reason. His previous offerings, while showing glimpses of the promises he would deliver on later in his career, were hampered by his limp, flawed male protagonists. This is the first film in which he explores the female as protagonist, a trope which would continue through most of his career, and it's clear that he has a much better grasp on the female psyche than on the male - with one notable exception ("The Seventh Seal"), his male protagonists often come off as variants of the director himself. Marie is at once strong, uninhibited, and vulnerable as a young woman, and Nilsson plays this role sublimely. As a mature ballerina, she has the appearance of strength that comes from a deadening of the emotions, rather inhibited, and invulnerable - a woman behind a wall she was forced or persuaded to build around herself. Nilsson also takes on this role masterfully, showing the versatility and virtuosity of an actress whose career peaked far too early.

The male lead, and Marie's love interest, is Birger Malmsten as Henrik - also wonderfully played as (by this point "yet another") incarnation of young Bergman himself. But unlike the male leads of previous films, Henrik is played with such an earnest innocence and naiveté that we can't help but buy into this wonderful performance. This isn't the director subtly displaying a sense of self-loathing, but rather, baring his soul through his marvelous script and direction. The ancillary roles are all excellent, as can be expected from actors working under Bergman. Stig Olin is particularly fantastic as the master of the ballet company. Kjellin's "regular guy" is believable in both his distance and his frustration, and lascivious "Uncle" Erland (Georg Funkquist) is delightfully seedy and erudite. Gunnar Olsson - the obligatory Bergman priest - is a very minor character, but fits perfectly into the few scenes he appears in. The rest of the supporting cast is fantastic.

As one would expect from a Bergman film - especially an early collaboration with his first significant cinematographer, Gunnar Fischer, and frequent editor Oscar Rosander - the visuals are stunning. I won't get over-technical here, but a wonderful mix of slow-fades, natural summer lighting, and exceptional composition make this a visual gem. Working on-location - a rarity for Bergman at this point in his career - he masterfully captures the feel of a short (6-8 week) Swedish summer, from the cuckoo that officially announces the start of summer to the owl that signals its approaching end. The lighting is masterfully achieved; contrast the scene when Marie first bumps into Henrik on the island to that where she walks down the hospital corridor. Every scene - including the outdoor ones, which are far more difficult - are perfectly focused and use exactly the right perspective.

Thematically, "Summer Interlude" is almost a crystal ball we can stare into to see the marvelous things the director would do in the future. Love, and its reverse. Life, and its reverse. The questioning of god's existence, relevance, and goodness. This is one of the first Bergman films to significantly use the mirror as a thematic element, in two back-to-back scenes, near the end of the film - this theme would be repeated in many future films, from the shattered mirror in "The Magician" to the dual mirrors in "Cries and Whispers", this would be a leitmotif that Bergman would employ time and time again. There is a chess scene in "Summer Interlude" that would directly evoke that of "The Seventh Seal" had the former not been shot 5 years before the latter. The distance between Marie and David tangibly feels like the silence between the sisters in "The Silence".

The overall TL;DR synopsis: This is a beautifully shot, wonderfully acted portrayal of young love that evokes Bergman's recurring themes of love, loss, the distance that necessarily exists between people, the silence of god, self-reflection, and the existentialist notion that we might as well move forward because otherwise, all we do is wait for Godot. The first masterpiece of a director I consider second only to Tarkovsky, and easily in my top 10 of his films - which is saying a lot. A solid 10/10.

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Need help with Henrik's death in the hospital grbaustin
Contains much of what would be elaborated later. junk-982
Can you buy this? eo_guy
Summer Interlude on Breaking Down Bergman eo_guy
Who's Diary? [spoiler?] Yeldnih
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