#Stig Ericson

[genevieveetguy]

The Girls (Flickorna), Mai Zetterling (1968)

[famousdeaths]

Swedish engineer and inventor Stig Ericson developed the first practical electric toothbrush, introducing it to the market in 1954.

Link: Stig Ossian Ericson

[letterboxd-loggd]

Summer Interlude (Sommarlek) (Illicit Interlude) (1951) Ingmar Bergman

April 30th 2022

[byneddiedingo]

Maj-Britt Nilsson in Summer Interlude (Ingmar Bergman, 1951) Cast: Maj-Britt Nilsson, Birger Malmsten, Alf Kjellin, Annalisa Ericson, Georg Funkquist, Stig Olin, Mimi Pollak, Renée Björling, Gunnar Olsson. Screenplay: Ingmar Bergman, Herbert Grevenius. Cinematography: Gunnar Fischer. Production design: Nils Svenwall. Film editing: Oscar Rosander. Music: Erik Nordgren. Maj-Britt Nilsson gives a stunning performance as the ballerina haunted by death -- both the literal death of the young man with whom she once had the titular summer interlude and the slow death of her career, which depends on the youthful vitality she can feel beginning to slip away. Like Ingmar Bergman's earlier To Joy (1950), which starred Nilsson and many of the same actors, it's a fable about art and life, about the conflict of the public persona of a career with the personal needs of an intimate relationship. Unlike To Joy, in which Nilsson's character is subordinate to that of her musician husband, Bergman has shifted the focus to the woman -- a focus that he would maintain for most of his remaining career. Summer Interlude may be his first great film, and Nilsson's ability to move from the winsome young Marie -- sometimes evoking the young Audrey Hepburn -- to the toughened, successful prima ballerina is remarkable. Perhaps the most startling moment comes when the older Marie removes her stage makeup, which has the effect of making her look older and harder, to reveal the remaining traces of the younger woman -- a fine reversal of the usual film trope of removing the makeup to reveal the effects of aging. 

[frankenpagie]

3.10.19

[mittbokligaliv-blog]

Lilla Vargen och blårockarna

Lilla Vargen och blårockarna

– Överge våra jaktmarker! utropade de yngre. Aldrig! Då är det bättre att strida och dö! – Det är inga jaktmarker längre, sa de äldre. Där finns inget att jaga. Det är svåra tider för Lilla Vargens stam. Bufflarna har försvunnit och det går rykten om att blårockarna ska attackera lägret. När vintern kommer får de alla svälta och de får veta att de kanske måste flytta. Till en okänd plats som…

[lifejustgotawkward]

365 Day Movie Challenge (2018) - #22: The Girls (1968) - dir. Mai Zetterling (52 Films by Women 2018: #3)

If there is any one movie I have seen recently that has spoken to me of world cinema’s need for women’s voices, it’s The Girls. It was directed by Swedish filmmaker Mai Zetterling, who rose to fame as an actress who worked with directors including Ingmar Bergman, Muriel Box (one of the few British women directors of the 1950s and 60s) and Mark Robson, as well as international stars like Danny Kaye, Tyrone Power and Peter Sellers. Zetterling became a formidable force behind the camera: The War Game (1963) won the Venice Film Festival’s Golden Lion for Best Short Film and was nominated for a BAFTA, while Loving Couples (1964) was in the running for the Cannes Film Festival’s esteemed Palme d’Or, and Night Games (1966) (a film famously condemned by Shirley Temple Black as “pornography for profit”) and Amorosa (1986) were candidates for Venice’s Golden Lion in the feature film category. Writing about Zetterling’s place in film history is particular special today since it is the one-hundredth anniversary of the birth of another pioneering female director, Ida Lupino.

The Girls follows three Swedish actresses - Liz (Bibi Andersson), Marianne (Harriet Andersson) and Gunilla (Gunnel Lindblom) - as they tour the country with a theater company performing Aristophanes’ classic satire Lysistrata. The play’s observations of how women and men interact are lost on the audiences that attend the shows; not only do they misunderstand the comedy, but they are fundamentally confused by the play’s social messages, without which the humor wouldn’t make sense. Even the men who live and work with the three stars are baffled by why the women consider their work so important. The production’s director (Ulf Palme) berates Marianne for being late to a rehearsal and interrupting a run-through when her young child cries backstage; two of the male performers in the show, Hugo (Gunnar Björnstrand) and Thommy (Stig Engström), are self-centered misogynists who are jealous of all the publicity and press attention that the actresses receive; the husbands and boyfriends (Erland Josephson, Frank Sundström, Åke Lindström) of Liz, Marianne and Gunilla can’t comprehend why the women yearn for equality both in the workplace and at home.

Lysistrata was first performed in 411 BCE and The Girls was released fifty years ago, but the feminist themes in both Aristophanes’ play and Zetterling’s film are just as relevant today. The two Anderssons and Lindblom, who are all closely associated with Ingmar Bergman’s output across several decades, give layered performances that prove why they were among Sweden’s most brilliant actresses. On the technical side, the black-and-white cinematography by Rune Ericson is impressive and Wic Kjellin’s editing allows the straightforward scenes of Liz, Marianne and Gunilla acting onstage and traveling from town to town to be intercut with the women’s memories and surreal fantasy sequences of how they wish they could react to the sexism they encounter on a daily basis. In one of the film’s most stirring moments, the three stars sit in the front row of a movie theater occupied by an all-female audience, watching a newsreel filled with images of the men (including Hitler and Mussolini) who have brought hatred and destruction into the world. The enraged moviegoers pelt the screen with eggs, tomatoes and other perishable missiles, and even when the men from the theatrical troupe attempt to stop the women, the bombardment just intensifies. I can’t recall if the scene was supposed to be real or imagined (although I’m guessing it’s the latter), but the effect is powerful either way.

[harasjomalafiskecamp]

Lottningen till Premiären är gjord!

Så är då lottningen till premiären i Flugströmmen gjord. Som vanligt är det stört omöjligt att få i hop det så alla blir nöjda. Vi har gjort vårt bästa för att få till det så rättvist som möjligt. Som vanligt så är det ett väldigt riv efter platserna på fredagen och lördagen, medan intresset för söndagen är lite svalare. Därför finns det platser kvar på söndagen om någon vill boka till eller boka nytt. En del har velat boka mer än en dag, men det har i rättvisans namn inte gått att få. Däremot går det att fylla på för söndagen om man är intresserad. Lottningen är som följer:

Premiärdag 1 (2 Mars):

Ingvar Haraldsson Hans Bondesson Bengt Bergman Rose Marie Bergman Anders Ericson Lars Schön Stig Tage Gordon Barbro Nilsson Joel Gunnarsson Glenn Hansson Bengt Kläppe Conny Önnerlind Bengt Jönsson Stefan Jolsö Gösta Bengtsson

Premiärdag 2 (3Mars):

Göran Persson Thomas Dahlberg Jocke Thorsell L-G Ekstrand Rasmus Hansen Mats Hallin Terese Borg Lam Van Ngyuen Erling Svensson Oddgeir Einstulen Anders Rosenqvist Veijo Lampinen Lennart Gustavsson Carl Johan Ransmark Håkan Ekelund

Premiärdag 3 (4 Mars):

Roger Svensson Peter Bågenmark Glenn Åkesson Henrik Knutsson Emil Zembo Magnus Jönsson Linus Jönsson Mikael Åkesson

Så ser det ut! Fritt fram att fylla på på söndagen med andra ord. Först till kvarn!

Håkan