Smiles of a Summer Night (1955)

 Ingmar Bergman's "Smiles of a Summer Night"


To call Ingmar Bergman's 1955 film "Smiles of a Summer Night" a 'sex comedy' would be too much of an oversimplification and perhaps an undermining phrase, given the additional modern context of that particular genre. You have to remind yourself that this is Bergman. So, there is an existentiality and philosophical underpinning to this 'sex comedy.' Even so, it's a quality film experience with plenty of laugher and levity, far more than a typical Bergman affair. 

The film is set in the early 20th century, as a middle-aged lawyer named Fredrik has yet to consummate his marriage to his 20-year-old wife. Meanwhile, Fredrick's son finds himself increasingly attracted to his new stepmother and her to him. To make matters worse, Frederik's old flame Desiree creates a scenario to win Frederick back at a romantic weekend retreat where the four couples convene, swapping partners and pairing off in unexpected ways.

 With "Smiles of a Summer Night," we find Bergman at his most playful. Typically a Bergman film it often deathly serious with light comedy to balance. In this case, Bergman is being utterly carefree and playful with the occasional seriousness to balance. He playfully examines the relationships between men and women and their equally intriguing stereotypes, personas, pretensions, and insecurities. 

Despite having some existential musings and philosophical insights, "Smiles of a Summer Night" has a far more playful tone that is more enjoyable and entertaining watch than a serious and deep-meaning one. Again, not to say there isn't so much you could pull from this film. Famed modern philosopher Stanley Cavell was so affected by the film that it led him to explore the intersection between philosophy and film. But, it is far more enjoyable to be like the two 'fools' in the film, played by Harriet Anderson and Ake Fridell, who playfully muse at the sights of lovers and drama, compare thee to a summer's day, and simply enjoy the act of living and being. The other characters are caught up in relationship drama, pining after each other to the point of aggression and manipulation. I noticed that all of the characters have this underlying tension between each other. This could be sexual tension or violent/aggressive tension. However, even the violent tension, for example between Frederik and Carl-Mangus, can be read through a sexual connotation. The tension turns into some sort of game between the characters. This invisible game becomes the main dramatic and comedic driver of the film and communicates the further philosophical musings about relationships, conceits, pretensions, and social dynamics.



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