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directness. He can see and feel in film. What he decides to see and feel will greatly influence the future of the Swedish film.
Bergman's last film before the interruption in Swedish production was Sommarlek {Summer Interlude), conceived in a somewhat lighter style than his earlier work, yet characteristically concerned with analysis of personal relationships. New warmth and sympathy could be felt in his treatment of the love story between a ballet dancer and a young boy, told as the girl's reminiscences; and again he drew moving performances from his players, Maj-Britt Nilsson, Birger Malmsten and Alf Kjellin. Much of the film was set in the Stockholm archipelago during high summer and the photographer, Gunnar Fischer, seized his opportunity to bring the transforming touch of that magical season to the screen. His work was recognized by an award at the 1950 Venice Film Festival.
Bergman's impact on the Swedish cinema has been widened through the films based on his manuscripts and made by other directors. Alf Sjdberg's Hets was one example. Even more remarkable was the effect on the sixty-year-old veteran, Gustaf Molander, whose Kvinna utan Ansikte {Woman without a Face) (1947) and Eva (1948) were both based on Bergman scripts. The director seemed to draw fresh inspiration from the younger man's ideas and the contrast between these films and the polished comedies of the 'thirties is quite remarkable. A great gulf separated the drawing-room drama of Swedenhielms and the complex psychological excitements of Kvinna utan Ansikte, in which Gunn Wallgren appeared as the bewitching victim of evil forces and Alf Kjellin as a young student in the grip of a blind and desperate passion. Passages in this film came near to eroticism and were acceptable only because the sincerity of the approach was never in doubt. Although the ending was weak, Eva was a more satisfying film. A study of guilt hanging over a man who, as a boy, has innocently brought about the death of a young blind girl, it was an intensely vivid variant of the familiar Bergman theme. Again there was a fluid movement back and forward in time and a remarkable command of atmosphere. The tension created by Molander and his players, Eva Dahlbeck and Birger Malmsten, broke only in the artificiality of the closing passages. Molander's association with Bergman has clearly been a stimulus, as his subsequent films, notably Kdrlrken Segrar {Love is the Victor) (1949), a story of the work of the Swedish Red Cross and of an Austrian girl's experiences in Sweden, have revealed.
Sjoberg's return from the stage has meant a great accession of strength to the Swedish cinema. He is as much interested in form as in content and the unmistakable style of his films has been an important influence in the revival. 'No other art is devoted, as film is devoted, to fulfilling modern man's need for expression,' he has said. 'But no modern technical device has been experimented with so little.' The urge to experiment which he showed in Den Starkaste remained with him during his ten years in the theatre and activated him strongly when he began directing again. Hets and Himlaspelet demonstrated how fresh and fertile
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