7.7/10
635
3 user 4 critic

Sunday's Children (1992)

Söndagsbarn (original title)
The film switches back and forth between the adventures of Pu on a summer holiday in Norrland in Sweden and and the adult Pu visiting his father who lives in an old people's home. Little Pu... See full summary »

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Cast

Cast overview, first billed only:
Thommy Berggren ...
Henrik Linnros ...
...
Jacob Leygraf ...
Dag
Anna Linnros ...
Lillan
Malin Ek ...
Märta
...
Marianne
Irma Christenson ...
Aunt Emma
Birgitta Valberg ...
Börje Ahlstedt ...
Maria Bolme ...
Maj
Majlis Granlund ...
Lalla
Birgitta Ulfsson ...
Lalla
Carl Magnus Dellow ...
Watchmaker
...
Blind girl
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Storyline

The film switches back and forth between the adventures of Pu on a summer holiday in Norrland in Sweden and and the adult Pu visiting his father who lives in an old people's home. Little Pu spends a summer in Norrland in the 1920s with all his relatives. He and his brother get to hear the story about the watchmaker who hung himself, learns to shoot with a bow and follow his father on a bicycle trip. Written by Mattias Thuresson

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Release Date:

28 August 1992 (Sweden)  »

Also Known As:

Sunday's Children  »

Box Office

Gross:

$151,881 (USA)
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Connections

Edited into Short cuts från Sandrews (1999) See more »

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User Reviews

 
Strong Ingmar Bergman script, directed by his son.
6 April 2012 | by (US) – See all my reviews

A lovely, interesting film, given more meaning by being the third of the three parts that more or less make up the history of Ingmar Bergman's family; starting with the sublime Fanny and Alexander, moving on to The Best Intentions, and then ending with Sunday's Children, which starts in the 1920s, but jumps forward and back to the late 1960s occasionally, where a character named Ingmar is confronting his dying father, from whom he's long felt estranged.

Most of the film focuses on the Ingmar character's childhood, in typical Bergman fashion, capturing the complexities of family life, good and bad, funny and heartbreaking. Also fascinating is that Ingmar Bergman chose his own son, Daniel, to direct this story of Ingmar Bergman's relationship with HIS father.

While there's clearly a certain poetry to that choice, I'm not sure it was the strongest possible one artistically. Unlike Billie August with 'The Best Intentions', Daniel Bergman sometimes seems to just be doing an imitation of his father's style, and that lack of an organic feeling to the film-making keeps this from fully soaring.

But the complexity of seeing the father/son relationship though both a child's eyes, when his father seems like a basically decent man with problems. and his adult perspective on the same behavior as cold and destructive is pretty fascinating.

A complex film I look forward to seeing again.


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