| 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) | |
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| Full cast and crew | Company credits | External reviews |
| News articles | IMDb Drama section | IMDb Sweden section |
This is a fantastic early film made by the master of the psychological, Ingmar Bergman. This film is much easier to understand than say, Persona, Cries and Whispers, or the Seventh Seal, and therefore, I suggest this as a first-time introduction for anyone interested in learning more about his films and/or his filming technique.
This movie is quite simply, a dream. The introduction sequence is a brilliant example of Bergman's work...we see a long shot of 5 horse carriages moving across the plains at dawn, which dissolves into a reflection of a single horse & carriage in the water below a bridge, which dissolves into a series of shots...windmills, foggy paths, the carriage driver and the finally, a fade into the carriage where our protagonist, Albert Johansson, sleeps with his girlfriend Anna. Bergman is the king of the dissolve...a style he no doubt picked up from 1920's German expressionism. Bergman's mise en scene is a blend of sequences which depict a very dreamlike orientation of our immediate surrounding.The result: We are passive observers, watching the all-too-real reality of our modern world subside into something very mysterious and surreal. Bergman's style removes time from the equation of film. Time, as we know it, takes a back-seat to objects, people, and places. Real life becomes more dreamlike than any dream, and the darkest and most mysterious corner of the universe becomes the human mind.
This is a fantastic movie.