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In the Presence of a Clown (1997)
"Larmar och gör sig till" (original title)

TV Movie  -   -  Drama  -  1 November 1997 (Sweden)
7.0
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Reviews: 6 user | 3 critic

Inventor Carl Åkerblom is a rosy-cheeked 54 year-old admirer of Franz Schubert - and a patient in the psychiatric ward of Akademiska Hospital in Uppsala, after having attempted to beat to ... See full summary »

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Cast

Cast overview, first billed only:
Börje Ahlstedt ...
Uncle Carl Åkerblom
...
Pauline Thibualt
...
Osvald Vogler
...
Anita Björk ...
Anna Åkerblom
Agneta Ekmanner ...
Klovnen Rigmor
...
Märta Lundberg
Gunnel Fred ...
Emma Vogler
Gerthi Kulle ...
Sister Stella
Johan Lindell ...
Johan Egerman
...
Petrus Landahl
Folke Asplund ...
Fredrik Blom
Anna Björk ...
Mia Falk
Inga Landgré ...
Alma Berglund
Alf Nilsson ...
Stefan Larsson
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Storyline

Inventor Carl Åkerblom is a rosy-cheeked 54 year-old admirer of Franz Schubert - and a patient in the psychiatric ward of Akademiska Hospital in Uppsala, after having attempted to beat to death his fiancée, Pauline Thibault. Together with another patient, Professor Osvald Vogler, they set up a film project: the living talkie. Before long, they set off on a frantic tour with their film, "The Joy of the Joyous Girl"... Written by Fredrik Klasson <fredrik.klasson@boras.mail.telia.com>

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Drama

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Release Date:

1 November 1997 (Sweden)  »

Also Known As:

In the Presence of a Clown  »

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Did You Know?

Trivia

Ingmar Bergman:  one of the inmates at the mental asylum (tall and lanky man with shaved head, standing against the wall outside uncle Carl's room). See more »

Connections

Featured in I sällskap med en clown (1997) See more »

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User Reviews

 
Darkly comic, and entertaining
2 June 2012 | by (US) – See all my reviews

Still full of the old Berman themes of death, the lack of God, etc.

Sometimes the symbols are a bit too heavy handed (including the titular presence of death as a clown). And the technical side of the production feels a bit limited, since the film was made for TV, and occasionally feels like a filmed play.

But that aside, as always with Bergman, the acting is terrific, and this tale of a half-mad inventor, inventing 'talking films' (by having actors stand behind the screen and speak the dialogue the characters on the screen are mouthing) is sometimes very funny, sometimes very sad, and sometimes very insightful – especially about the power of art both to redeem and obsess.

Not one of Bergman's great works, but among the best of his more minor films.


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