Naisen kasvot

Well, it has a European feel and does not hinge itself on a court-case melodrama like the Joan Crawford version which is molded in the shape of the weepies of the twenties, thirties and forties hollywood. Bergman is not very good in this, especially when her face is scarred. Her performance is a bit too bitter, too harsh, a little exaggerated. She is much better when her face has been reconstructed and gently turning heel and keel as the boy's nanny. An ending of doubt and uncertainty which marks this version is missing from the Hollywood version. I would say the hollywood version is much more perfect and rounded; and definitely, Joan Crawford's performance is better. You can only change the outside, it is only you that can change the inside, is the core/moral of both versions and in that way, both of the stories succeed. One is done with Hollywood cliches and the other with the Swedish/Nordic arty/ realist style of European cinema. Both are different by the look but at heart the same movie.