Jag är nyfiken - en film i blått (1968)

User Rating:

6.3/10   

Director:

Vilgot Sjöman

Writer:

Vilgot Sjöman (writer)

Release Date:

11 March 1968 (Sweden)

Genre:

Drama

Tagline:

You'll wonder where the (yellow) went?

Plot:

The same movie with the same characters, cast and crew as I am Curious (Yellow), but with some different scenes and a different political slant...

Plot Keywords:

Sex | Social Democrat | Social Commentary | Scabies | Social Justice

Awards:

1 win

Cast

Maj Hultén	...	Doctor
Vilgot Sjöman	...	Vilgot Sjöman
Lena Nyman	...	Anna Lena Lisabet Nyman / Lena
Börje Ahlstedt	...	Börje
Sonja Lindgren	...	Sonja Lindgren
Bertil Wikström	...	Bertil Wikström
Gunnel Broström
Hans Hellberg	...	Hasse
Bim Warne	...	Hasse's Girlfriend
Peter Lindgren	...	Lena's Father
Gudrun Östbye	...	Lena's Mother
Ulla Lyttkens	...	Lena's friend
Magnus Nilsson
Gun Jönsson	...	Woman
Pierre Fränckel	...	Man

Also Known As:

I Am Curious (Blue) (USA)
Jag är nyfiken - blå

Runtime:

USA:107 min

Country:

Sweden

Language:

Swedish

Color:

Black and White

Sound Mix:

Mono

Certification:

UK:15 (2006) | Germany:12 (re-rating) (2007) (uncut) | West Germany:18 (original rating) (heavily cut) | Canada:18+ (Quebec) | Canada:R (Ontario) (cut) | Finland:K-18 | Norway:18 (1970) | Sweden:15

Filming Locations:

Gröna Lund, Djurgården, Stockholm, Stockholms län, Sweden

Company:

Sandrews

Quotes:

Vilgot Sjöman: You get a love scene with Lena. A love scene with consequences.
Börje: What kind of consequences?
Vilgot Sjöman: I don't know. I'll think of something.

Movie Connections:

Referenced in Deux femmes en or (1970)

Soundtrack:

NU SKA VI OPP, OPP, OPP

Blue - a look at Swedish values and norms

"Jag är nyfiken – Blue" is a more contemplative and somewhat less vibrant film than "Jag är nyfiken – Yellow." Much of Blue takes place outside of Stockholm, along rural byways in the north of Sweden - the land of the midnight sun - as Lena undertakes a journey to find her mother. The frenetic exuberance of Yellow is replaced by a sense of foreboding and gloom. The themes of religion, violence, lesbianism, marriage, impotency, and scabies all intertwine to create Blue's dour fabric. Also less evident in Blue is the "documentary-ing" of Vilgot Sjöman and his crew - although they do make several stunning appearances, for example, just before and after Lena and Börje's reunion, and again, very poignantly, near the end of the film. Overall, Blue strikes me as an interesting but less unconventional film than its sunny other-half.

Having watched both Yellow and Blue now, I have an urge to sum up what I found and did not find in Sjöman's brilliant twins. In both films, Sjöman and Lena are unafraid to ask real people real questions. Their responses are presented to us without editorial remark or ridicule. This kind of authenticity never grows old. Sjöman and Lena, through hard work and improvisation, create scenes that are touching, funny, and dorky. Their work left me with feelings similar to those I had after watching Cassavetes' Shadows and Faces. At their best, Sjöman and Lena expose the contradictions that exist between people, between systems, between nations. However, although Sjöman has cast a wide net, there are many issues, read *contradictions*, that are noticeably missing from both Yellow and Blue. While lesbianism and female bisexuality is explored, male homosexuality is not. Neither alcohol, a substance that causes perennial anxiety among Swedes, nor drugs, another taboo, has a place in either film. Criticism of Franco and the US is prominent, while the building of the Berlin Wall in 1961, the Cuban Missile Crisis in 1962, and the ongoing oppression in both the Soviet Union and China and their satellites go unanalyzed. I mention this not as a rebuke of the films, but rather as a way of putting them in some kind of perspective.