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I Am Curious (Blue) (1968)

Jag är nyfiken - en film i blått (original title)
Not Rated | | Drama | 11 March 1968 (Sweden)
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. The political focus in Blue is personal ... See full summary »

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Cast

Cast overview, first billed only:
Maj Hultén ...
Doctor
...
...
Anna Lena Lisabet Nyman / Lena
...
Sonja Lindgren ...
Sonja Lindgren
Bertil Wikström ...
Bertil Wikström
Hans Hellberg ...
Hasse
Bim Warne ...
Hasse's Girlfriend
...
Lena's Father
Gudrun Östbye ...
Lena's Mother
Ulla Lyttkens ...
Lena's friend
Gun Jönsson ...
Woman
Pierre Fränckel ...
Man
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Storyline

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. The political focus in Blue is personal relationships, religion, prisons and sex. Blue omits much of the class consciousness and non-violence interviews of the first version. Yellow and Blue are the colors of the Swedish flag. Written by Maple-2

Plot Summary | Add Synopsis

Taglines:

Look who's flying into the blue! See more »

Genres:

Drama

Certificate:

Not Rated | See all certifications »

Parents Guide:

 »
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Details

Country:

Language:

Release Date:

11 March 1968 (Sweden)  »

Also Known As:

I Am Curious (Blue)  »

Company Credits

Production Co:

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Technical Specs

Runtime:

Sound Mix:

Aspect Ratio:

1.37 : 1
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Did You Know?

Trivia

"blått" ("blue" in English) in the film's title is in reference to one of the two colors in the Swedish flag. See more »

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.
See more »

Connections

Referenced in Hanging Perverts (2010) See more »

Soundtracks

Faith of Our Fathers
(uncredited)
Lyrics by Frederick William Faber
[Sung as a hymn (with Swedish lyrics) to the tune 'St. Catherine' by Henri Hemy]
See more »

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User Reviews

 
Blue - a look at Swedish values and norms
2 April 2006 | by See all my reviews

"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.


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