The 10th Film by Bergman called Summer Interlude (Sommarlek-1950) is a story of lost love, carefree youth, brief teenage love affair, tragic end to the affair and its consequence to future life and sentimental stuff.
There are plenty of wonderful close-ups and shots of Stockholm, old people gossiping about a young woman, lamentations of lost youth and love, the strong fear that youth and life will vanish someday, in the darkness, in the unknown, in the nothingness, getting nostalgic, sorrow and a recollection by the female protagonist on how life goes on with the living while the male protagonist lies dead and decaying. Question again arises on the meaning of life, Such is existence.
A bit of a contradiction here - If you claim there is no god – you possible can’t hate him – for to do so, you acknowledge his existence.
It is not a philosophy-heavy, mentally-straining analysis about how human being functions film.
Ah, that youthfulness, whiling away the time, picking up wild strawberries, walking around aimlessly, jumping from one small cliff to another, throwing pebbles and small rocks in the sea, stone skipping, rowing away in the summer sun, falling in love – overall doing nothing
It was difficult, awkward and absurd trying to hide all that wrinkles and creases in a flashback from a twenty eight year old woman to fifteen year old young girl
At one stage too much scenes and some of them prolonged, of puppy love, may bore and irritate a serious viewer
The scene where a circle of dark cloud was captured when the young protagonist has an accident in the cliff is astounding. The dark cloud fades to become the face of death.
Some original scores, some scores by Chopin -
* Nocturne No.2 in Eb Major, Op.9
* 12 Etudes Op. 10 No. 12 in C Minor - 'Revolutionary'
filled the void with of course the Waltz from Swan Lake by Tchaikovsky
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