This Swedish sex-comedy/drama explores the complications in the relationship of a couple who believe that if they make love to each other, they will die. They neck and are physically ...
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Lena, aged twenty, wants to know all she can about life and reality. She collects information on everyone and everything, storing her findings in an enormous archive. She experiments with ... See full summary »
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 »
Sweden in 1782. A young nobleman, named Jacob (Per Oscarsson) returns from France to his home and cherished sister Charlotte (Bibi Andersson) who is engaged to Baron Alsameden (Jarl Kulle).... See full summary »
This Swedish sex-comedy/drama explores the complications in the relationship of a couple who believe that if they make love to each other, they will die. They neck and are physically affectionate in public as well as in private, but have a big taboo against sexual consummation. Their situation drives them to distraction, and they unsuccessfully seek various extramarital outlets for their frustrations. Written by
Vilgot Sjoman is a major director who, like so many others from previous eras, has been largely discarded by film buffs. This is one of his strangest films and is long overdue for video exposure to a new generation.
I saw the film in 1974 during its brief NYC run and amongst thousands of ephemeral pictures this is one that lingers in my memory. Sjoman had already made his way into the history books with I AM CURIOUS, but this strange & sexy black comedy is unique - a sex film cast with opera singers! Since sex films, or at least films containing sex (e.g., BASIC INSTINCT), have a bias towards beautiful people of certain body types, the notion of using both male & female opera performers has got to be up there with the wackiest. Almost like Ken Russell's use of motley rock stars in LISZTOMANIA. But Sjoman's Rabelasian approach benefits from the gimmick, and these particular opera doyens let the maestro have uninhibited, softcore performances.
Sjoman was always fencing with screen taboos, and this film is no exception, but I remember it being a funny, lusty experience. I'm sure the pendulum will swing back one day, and instead of the current list of darlings, a crop of more perceptive film buffs will come along and rediscover the temporarily forgotten all-time Greats & innovators including Sjoman, Teshigahara, Peter Watkins, Jancso, Makavejev, Albicocco, Torre-Nilsson, Rocha and Jarva, to name just a few, who once thrilled us art-house generation fans.
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