"Is this what they mean in other countries by 'Swedish sin'?"
This film feels like it was inspired by the French New Wave, having as it does a sense of cinematic freedom and experimentation. It's also wonderfully empowering to the young woman who is its lead character, played well by Inger Taube. She's allowed to express her sexuality before being married, decide for herself what to do when she gets pregnant, and not fall apart when the men behave badly, or because of what's happened to her. On the contrary, she navigates her life with maturity, not confined to conventionality, and for all that, I enjoyed it.
Without devolving into titillation, this film is unabashed about the young woman's sexuality, starting with her doing it in the stairway with her date from the movie house, and then picking up another guy while he's polishing his hubcaps, going for a ride with him where they eventually steam up the windows. Later he's in front of her bedroom mirror, gyrating his hips, and, kneeling, she grabs him from behind before another session in bed. We get the idea it was vigorous because afterwards, observing a broken leg post, she says, "Did you see what's happened to the bed? That's what I call love."
The thing is, she knows it isn't really love. When this would-be rocker comes back after she's had the baby and mention he's the father, she gives him a perspective shift by saying "you helped with a few drops." She doesn't leap to his suggestion that he's ready for marriage, knowing that it wouldn't work out, and knows she doesn't need him. She's not doomed despite her pregnancy, and is allowed to voice "I'm so glad I didn't get married," and defend herself when another guy, a would-be intellectual, says crudely "girls like you are only good for one thing" after tries unsuccessfully to force himself on her. On top of it all, her mother provides a rather sober view of marriage, as something that's "worst in the beginning, then you get used to it."
The plot meanders and the camera work and editing are playful, giving the film buoyancy in the face of its heavy themes. The black & white cinematography features interesting camera angles and shots on city streets. We also get bits of early 1960's life, like the styles in eyeglasses, and the nearly catatonic faces watching television (one the features an early remote control!). The jazzy soundtrack reflects a fluidity and vibrancy, which was also an interesting counterpoint to the music the two men are into, one singing a pale imitation of Chubby Checkers' The Twist, and the other providing his 'expert' views on Vivaldi. Quite a nice little find, and makes me want to see more from Bo Widerberg.
This film feels like it was inspired by the French New Wave, having as it does a sense of cinematic freedom and experimentation. It's also wonderfully empowering to the young woman who is its lead character, played well by Inger Taube. She's allowed to express her sexuality before being married, decide for herself what to do when she gets pregnant, and not fall apart when the men behave badly, or because of what's happened to her. On the contrary, she navigates her life with maturity, not confined to conventionality, and for all that, I enjoyed it.
Without devolving into titillation, this film is unabashed about the young woman's sexuality, starting with her doing it in the stairway with her date from the movie house, and then picking up another guy while he's polishing his hubcaps, going for a ride with him where they eventually steam up the windows. Later he's in front of her bedroom mirror, gyrating his hips, and, kneeling, she grabs him from behind before another session in bed. We get the idea it was vigorous because afterwards, observing a broken leg post, she says, "Did you see what's happened to the bed? That's what I call love."
The thing is, she knows it isn't really love. When this would-be rocker comes back after she's had the baby and mention he's the father, she gives him a perspective shift by saying "you helped with a few drops." She doesn't leap to his suggestion that he's ready for marriage, knowing that it wouldn't work out, and knows she doesn't need him. She's not doomed despite her pregnancy, and is allowed to voice "I'm so glad I didn't get married," and defend herself when another guy, a would-be intellectual, says crudely "girls like you are only good for one thing" after tries unsuccessfully to force himself on her. On top of it all, her mother provides a rather sober view of marriage, as something that's "worst in the beginning, then you get used to it."
The plot meanders and the camera work and editing are playful, giving the film buoyancy in the face of its heavy themes. The black & white cinematography features interesting camera angles and shots on city streets. We also get bits of early 1960's life, like the styles in eyeglasses, and the nearly catatonic faces watching television (one the features an early remote control!). The jazzy soundtrack reflects a fluidity and vibrancy, which was also an interesting counterpoint to the music the two men are into, one singing a pale imitation of Chubby Checkers' The Twist, and the other providing his 'expert' views on Vivaldi. Quite a nice little find, and makes me want to see more from Bo Widerberg.