In contrast with his best friend at school, who cites Strindberg's and Nietzsche's cynical views on women, Jan-Erik Widgren considers himself an idealist, who believes there's a chaste woman out there for him. But the adolescent schoolboy's first love proves to be a loose girl he finds stumbling around drunk one night. They become lovers, even though she has another man in her life - a man she says bullies and torments her. Meanwhile, Jan-Erik is poised to fail at school, thanks to a sadistic schoolmaster - a browbeating teacher of Latin whom all the boys refer to as Caligula.
The title sequence promises a thriller, and there are sequences that seem prepared to fulfill that promise; but it never quite pans out. The story never quite pans out as satisfactory drama either, despite some acute observations by the wiser characters and good performances from everyone. Ingmar Bergman's script comes off like gleeful revenge against an actual schoolmaster he knew.
The best thing about the movie is the gorgeous black-and-white photography from Martin Bodin, under Alf Sjöberg's direction, filled with sinister shadows of domineering figures and clutching hands and low angle shots revealing shadow-strewn ceilings.
The title sequence promises a thriller, and there are sequences that seem prepared to fulfill that promise; but it never quite pans out. The story never quite pans out as satisfactory drama either, despite some acute observations by the wiser characters and good performances from everyone. Ingmar Bergman's script comes off like gleeful revenge against an actual schoolmaster he knew.
The best thing about the movie is the gorgeous black-and-white photography from Martin Bodin, under Alf Sjöberg's direction, filled with sinister shadows of domineering figures and clutching hands and low angle shots revealing shadow-strewn ceilings.