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torture. When the scene changed to the boy's home the camera was used unobtrusively to suggest the conventional outlook of his parents. Similarly, in the girl's apartment, background, lighting, and photography combined to create an atmosphere of mingled innocence and sluttishness. Later, -during the examinations, the director supplemented the note of rising tension by reference to the stifling weather. The imaginative relationship of the story to its background was one of the film's most exciting qualities; and the finely controlled performances of Stig Jarrel as the sadistic bully, Mai Zetterling as his bewildered victim, and Alf Kjellin as the tortured boy in whose idealistic gesture she finds comfort add to the incisive impact of the film.
Hets was made by the Svensk Filmindustri and its international success set a seal of approval on both the nature and direction of the Swedish film revival. It encouraged the younger generation of writers and directors at work in many of the studios. At Rasunda Karin Swanstrom and Stellan Claesson had been succeeded by young producers while Dr. Karl Anders Dymling, a man with a liberal outlook, had taken over control of Svensk Filmindustri. Among other producers who were adopting an enlightened policy was Lorens Marmstedt who founded Terrafilm. It was not difficult to sense the creative stirring out of which new movements grow.
As the most stimulating and controversial figure of the revival, Ingmar Bergman is worthy of some study. This astonishingly fertile young man, born in 1920, has already written novels, scenarios, and plays, directed a dozen films, and worked as stage producer in Halsingborg, Gothenburg, and Stockholm. All the films he has written or directed have a distinctive flavour. He appears to be seeking to express the longings and frustration of modern life, the loneliness and anguish of young people trying to come to terms with a difficult world. Bergman feels this theme intensely and is able to communicate his feeling so vividly that he forces acceptance of his argument. On analysis it may be realized that, through his isolation of the exceptional, he overstates his case and speaks for only the abnormal. If this is his whole philosophy it is exceedingly restrictive and he must soon exhaust the possible variations. It may be a case of over-production while he is still absorbing impressions which will result in a more balanced outlook. There is no denying, however, the imaginative power which has gone into the treatment of his themes. In all his films there are unforgettable passages, flashes of blinding illumination which open up a new world of understanding. They reveal the depth of his sympathy for the young people of the war and post-war world in their struggle to find a footing in what he sees as a maladjusted society.
In Hets, the first film on which Ingmar Bergman's name appeared, the student's actions were in part a protest against the excessive conservatism of his parents. This conception of disharmony in home life and the revolt of children against their parents recurred in most of his films. Kris (1945), his first film as director, described a struggle between a mother and a foster-mother for the possession of a teen-age girl. Det Regnar pa vdr Karlek (in Britain, The Man with an Umbrella)
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