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Gycklarnas afton
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Sawdust and Tinsel (1953) More at IMDbPro »Gycklarnas afton (original title)

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Overview

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View company contact information for Sawdust and Tinsel on IMDbPro.
Release Date:
9 April 1956 (USA) See more »
Genre:
Tagline:
The creator of the celebrated "Torment" probes deep into the passions of a young girl...deep into the desires of two lustful men...deep into the drama and desperation of THE NAKED NIGHT See more »
Plot:
While traveling in caravan through the country of Sweden, one member of the decadent Alberti Circus... See more » | Add synopsis »
Plot Keywords:
User Reviews:
has gained a reputation as a triumph of Bergaman's pre 'Seventh Seal' period; rightfully so See more (21 total) »

Cast

  (in credits order) (verified as complete)
Åke Grönberg ... Albert Johansson

Harriet Andersson ... Anne
Hasse Ekman ... Frans
Anders Ek ... Frost
Gudrun Brost ... Alma
Annika Tretow ... Agda
Erik Strandmark ... Jens

Gunnar Björnstrand ... Mr. Sjuberg
Curt Löwgren ... Blom
Kiki ... The Dwarf
rest of cast listed alphabetically:
Lissi Alandh ... Theatre Actress (uncredited)
Julie Bernby ... Ropewalker (uncredited)
John W. Björling ... Greven - Circus Artist (uncredited)
Naemi Briese ... Mrs. Meijer - Circus Artist (uncredited)
Michael Fant ... Fair Anton (uncredited)
Karl-Axel Forssberg ... Theatre Actor (uncredited)
Åke Fridell ... Artillery Officer (uncredited)
Erna Groth ... Theatre Actress (uncredited)
Eric Gustafson ... Policeman (uncredited)
Conrad Gyllenhammar ... Fager - Circus Artist (uncredited)
Vanje Hedberg ... Mrs. Ekberg's Son (uncredited)
Agda Helin ... Theatre Actress (uncredited)
Mats Hådell ... Lill-Albert - Albert and Agda's Youngest Son (uncredited)
Gunborg Larsson ... Mrs. Tanti - Circus Artist (uncredited)
Gunnar Lindberg ... Police Constable (uncredited)
Göran Lundquist ... Albert and Agda's Oldest Son (uncredited)
Olav Riégo ... Theatre Actor (uncredited)
Hanny Schedin ... Mrs. Asta (uncredited)
John Starck ... Theatre Actor (uncredited)
Mona Sylwan ... Mrs. Fager - Circus Artist (uncredited)
Majken Torkeli ... Mrs. Ekberg - Member of the Orchestra (uncredited)
Sigvard Törnqvist ... Meijer - Circus Artist (uncredited)

Directed by
Ingmar Bergman 
 
Writing credits
(in alphabetical order)
Ingmar Bergman  uncredited

Produced by
Rune Waldekranz .... producer
 
Original Music by
Karl-Birger Blomdahl 
 
Cinematography by
Hilding Bladh 
Sven Nykvist 
 
Film Editing by
Carl-Olov Skeppstedt 
 
Production Design by
Bibi Lindström 
 
Costume Design by
Mago 
 
Makeup Department
Nils Nittel .... makeup artist (uncredited)
 
Sound Department
Olle Jacobsson .... sound (as Olle Jakobsson)
Gösta Björk .... sound assistant (uncredited)
 
Camera and Electrical Department
Hans Dittmer .... assistant camera (uncredited)
Lars Jönsson .... assistant camera (uncredited)
 
Other crew
Lars-Owe Carlberg .... location manager
John W. Björling .... technical advisor (uncredited)
Marianne Johnson .... script supervisor (uncredited)
Alva Lundin .... title designer (uncredited)
Sigvard Törnqvist .... technical advisor (uncredited)
Rune Zetterlund .... technical advisor (uncredited)
 
Crew verified as complete


Production CompaniesDistributors

Additional Details

Also Known As:
"Gycklarnas afton" - Sweden (original title)
"The Naked Night" - USA (alternative title)
See more »
Runtime:
93 min
Country:
Language:
Aspect Ratio:
1.37 : 1 See more »
Sound Mix:
Company:

Did You Know?

Trivia:
Originally marketed in the States as a sex film under the title "The Naked Night".See more »
Quotes:
Anne:I can crack nuts with my teeth too.
Frans:Now I'm scared.
See more »
Movie Connections:
Referenced in Ingmar Bergman on Life and Work (1998) (TV)See more »

FAQ

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7 out of 8 people found the following review useful.
has gained a reputation as a triumph of Bergaman's pre 'Seventh Seal' period; rightfully so, 17 December 2007
Author: MisterWhiplash from United States

Sawdust and Tinsel- or The Swedish Master, or The Naked Night, take your pick on a title- is about a man who can't stand himself in his profession, but loves it so much at the same time: the low-brow sensibility of it, the wildness, the freedom to cut it loose with drink or with mad gimmicks during a show, and abandon of the rules when confronted with the law. But he also has a love whom he has his problems with, and her with him as well, leading to an infidelity drama that plays out harshly. Ingmar Bergman said this was a personal film for him, in a big sense, because of the connection to the excitement of the profession being played out against personal turmoil and trouble in professional terms (Bergman even said it was easier for a scrawny director to have a "fat actor" play the part of Arthur). It was reviled by critics and a box-office flop- one of the more expensive films, relatively to others, Bergman made up to that point.

It's a film that, seen years later now through the prism of Bergman as one of the world's true artists in the profession, also is deceptively high-brow about the world of low-brow, where experimentation filters in early on and Bergman makes one of his more distinctive marks as a director more-so than a screenwriter (usually, however much Bergman is always an absorbing and challenging director of scenes, writes like no other). The opening scenes, with the story of the sad/pathetic clown Frost (could be a distraction if overdone, but it's an interesting side-not throughout the film as a reminder of true melancholy), are shot like some crazy silent movie, where all we hear are sounds of laughter and little sound effects, brightly lit, shot and composed like some manic tale of desperation and defeat and humiliation, stylized so highly one might think a mad German too control of the reins and made it his own. It's not something all of Bergman's fans will like, but it shows him, even in 1953, trying new things, letting himself be free with the material as he sees fit.

Then, after this, we get into the "typical" Bergmania; a sort of square-block played out between Arthur, who is meeting his ex-wife in the town he's at for the circus performance (the actress playing his wife, I forget her name, is brilliant at displaying just enough pragmatism to show her as the most sane of anyone in the film), and Arthur's current beau Anne is somewhat attracted to a sneaky actor named Frans, who plays a wicked game of arm wrestling and leading to a somewhat Albert and Anne, and how this casts a dark shadow on the rest of the proceedings- including through the circus performance, which becomes a daring act of do by Bergman where he makes things effective once squaring in on the 'duel' between Arthur and Frans. For those that love Bergman doing relationship drama, this is solid, if not exceptional, stuff on display. And the ending, truth be told, might just be one of the most engrossing, and completely bleak (if you could imagine that Bergmanites) that he ever made (who doesn't cry with the scene with the bear?)

It might sound like Bergman has made a depressing little tome on circus life, the sorrows of living with the filth and lice and reckless frivolity of life as vagabond entertainers. But it's also a lot of fun, as the low-brow material displays another side to Bergman, which is something close to weird, comic excess. Sometimes Bergman even mocks his own world; a scene with Albert asking Gunnar Bjornstrand's theater director (the latter always shown in low-angle, a smart choice) makes the theater come off satirically compared to Bergman's more serious treatments of the profession in his films. And, seriously, where else will we get a dwarf tossing in a work by this filmmaker? And meanwhile, he also has a great turn from his would-be Emil Jannings in Åke Grönberg, who is big and over-emotional and strung-out on his excesses of anger and resentment, mostly with himself (watch for that gun!) And Andersson, of course, is ravishing as she was- if not erotically as such- in Monika, filmed the same year.

Now finally available just a bit easier than previously thanks to Criterion, Sawdust and Tinsel is a fine spectacle of a director branching out stylistically (if not to the spectacular Felliniesque aspirations it might have as a pre La Strada or The Clowns), while keeping his feet tethered to his personal cinema. Not quite in my top 10 of Bergman's, but considering how many great films he made it's close.

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