Ingmar Bergman (3/57)
The first of the early Bergman pieces that really makes me understand the appeal. It’s always interesting to see how mental health is portrayed in media in the early 20th century, and Port of Call doesn’t venture too far from common ideas and simplifications of the time period. Where the film does shine, however, is through its character work, something that Bergman is especially praised for in his later work; his ability to create dynamic and realistic character comes across best here out of his first few films, and I expect it will only improve as we get to the movies with much more praise. Character work aside, it is interesting that of Bergman’s first five films, three of them deal with, in some capacity, a romance dealing with the hindrance of a maternal figure. Not exactly a critique on the movies themselves, but Bergman’s fascination with this premise is curious nonetheless. Maybe Ingmar Bergman just has serious mommy issues.
Ingmar Bergman (3/57)
The first of the early Bergman pieces that really makes me understand the appeal. It’s always interesting to see how mental health is portrayed in media in the early 20th century, and Port of Call doesn’t venture too far from common ideas and simplifications of the time period. Where the film does shine, however, is through its character work, something that Bergman is especially praised for in his later work; his ability to create dynamic and realistic character comes across best here out of his first few films, and I expect it will only improve as we get to the movies with much more praise. Character work aside, it is interesting that of Bergman’s first five films, three of them deal with, in some capacity, a romance dealing with the hindrance of a maternal figure. Not exactly a critique on the movies themselves, but Bergman’s fascination with this premise is curious nonetheless. Maybe Ingmar Bergman just has serious mommy issues.
