আলাপ:সামার উইথ মনিকা

চলচ্চিত্র থেকে

রিভিউ লেখার জন্য হোমওয়ার্ক

http://bergmanorama.webs.com/films/summer_with_monika.htm

  • At that time, Harriet Andersson–she wasn't making her debut, because she'd had a small part in a movie called Biffen och Bananen. I thought she was very, very good. She was on stage at the Casino–No, it was called the Scalateatern, down at Norra Bantorget. It was a theatre for variety shows at the time. There she was in a negligee...and fishnet stockings, singing suggestive songs with immense charisma. It was such a fun production, and Harriet and I fell in love. It was a kind of fascination with exteriors. And it influenced the filming as well. In a way it's–I still think it holds its own. - Bergman
  • Bergman's sympathetic eye and Gunnar Fischer's atmospheric photography invest the locations with a poetic significance, the light and open spaces of the holiday islands contrasted tellingly with the dark claustrophobia of the city, where the flame of the couple's love is slowly extinguished by the lack of air." – Nigel Floyd, Time Out

http://www.villagevoice.com/2007-11-06/film/bergman-s-bad-girl/

  • Veteran exploitation distributor Kroger Babb cut the film to 62 minutes, dubbed the dialogue, added a Les Baxter score, and released it as Monika, the Story of a Bad Girl. Woody Allen claims to have camped out on the sidewalk the night before its Flatbush opening.
  • Bergman's tale of heedless teenage love is a sort of neorealist Rebel Without a Cause—except that sex is acknowledged and the outlaw is a girl. In her rejection of all domestic responsibility, motherhood included, Monika's uninhibited, impulsive, working-class protagonist is a natural foe of bourgeois morality.

http://movies.nytimes.com/2007/11/14/movies/14moni.html?ex=1226638800

  • He had shot and finished another film, the 11th in an already complicated career, though it had yet to open. He was supporting two ex-wives and five children from those unions, as well as a third wife and an infant son. Ingmar Bergman had just turned 34.
  • As they motor through the city’s waterways, the buildings seem to bear heavily down on them, as foreboding as giants (or adults).
  • In the early city scenes Bergman crowds the frame with objects and people, creating a sense of claustrophobia for the lovers and for those of us watching them struggle to find a place of their own. Once they make their escape, the jammed, Cubistic cityscape gives way to pastoral vistas that melt into one another as the shimmering sun dissolves into images of glistening water and a sky as sheltering as it is limitless. In the sky’s boundlessness you intuit the expanse of new love, which Bergman also conveys through breathtaking close-ups of Monika and Harry nuzzling each other’s faces like foals.
  • We can judge her if we so choose, but he refuses, as evident from the justly famous shot in which she looks directly into the camera for about 30 long seconds.
  • Years later it’s easy to see why French New Wave directors like Godard and Truffaut were stirred by Monika’s purposeful stare.
  • One head [on VHS] seems decorative, shrunken in size and feeling; the other [on big screen] communicates an epic of emotion, a fierce will, resistance.
  • But Monika, who pulls her lovers into her bed without hesitation or shame, was a new woman for a cinematic practice that even today carries the shock and delight of the new.

http://bergmanorama.webs.com/films/summer_with_monika_godard.htm

  • The reissue of Summer With Monika on commercial release is the cinematographic event of the year. It is a homage to Ingmar Bergman by the Parisian cinemas. So one must hurry to the Pantheon just as one hurried to the Orangerie for Van Gogh a few years ago.
  • Ignored when it was first shown on the boulevards, Summer With Monika is the most original film of the most original of directors. It is to the cinema today what Birth of a Nation is to the classical cinema. Just as Griffith influenced Eisenstein, Gance and Lang, so Summer With Monika, five years before its time, brought to a peak that renaissance in modern cinema whose high priests were Fellini in Italy, Aldrich in Hollywood, and (so we believed, wrongly perhaps) Vadim in France.
  • Admittedly, of all modern directors he alone has not openly rejected those devices beloved of avant-gardists of the thirties: superimpositions à la Delluc, reflections in the water à la Kirsanoff, back-lighting à la Epstein, that whole bric-à-brac of effects which one now finds only in the films of Gréville and Robert Hossein, or in amateur film festivals. As used by the director of Summer With Monika, those mannered compositions, those bizarre angles, those shots of clouds, lakes, undergrowth, are not gratuitous camera tricks or technical virtuosity. On the contrary, Bergman always manages to integrate them into the psychology of his characters at the precise instant when he must evoke a precise feeling. Thus, for instance, a track out at dawn to express Monika's pleasure in her journey by boat through an awakening Stockholm; and later, the same tracking shot on the river and its embankments, but forwards this time as Monika returns, weary and disillusioned, to a sleeping Stockholm.
  • Bergman is the film-maker of the instant. His camera seeks only one thing: to seize the present moment at its most fugitive, and to delve deep into it so as to give it the quality of eternity. Hence the prime importance of the flashback, since the dramatic mainspring of each Bergman film is simply the hero's reflection on the moment and his situation at that moment.
  • One must see Summer With Monika, if only for the extraordinary moment when Harriet Andersson, before making love with the man she has already thrown out once before, stares fixedly into the camera, her laughing eyes clouded with confusion, and calls on us to witness her disgust at involuntarily choosing hell instead of heaven. It is the saddest shot in the history of the cinema.
  • 'Love at leisure, love unto death....'3 Summer With Monika is the first Baudelairean film. Only Bergman can film men as they are loved but hated by women, and women as they are hated but loved by men.
  • For Monika, like Michael O'Hara in Lady from Shanghai, it is a question of growing old gracefully. As old age, alas, means ugliness, it is lucky, Bergman murmurs, that the camera exists to preserve beauty.

http://www.nypost.com/p/entertainment/movies/item_4KgxvO8t4R1NU8GASwONjK

  • The IFC Center says that "Monika" was released on the exploitation circuit in 1950s America, luridly retitled "Monika: The Story of a Bad Girl" and touted as "Naughty and 19! The devil controls her by radar!"