Vers la joie

Ingmar Bergman's seventh film, To Joy, is actually a fairly bitter film, more often than not, in looking at the destructiveness of a marriage between two people who somehow got stuck with each other to fall in love. And yet there are some moments that are quite joyful, or at least in the terms that Bergman will allow from time to time, and they help ring this as less a total work of despair than an examination of 'average' people who can't stand not having more. Stig (Stig Olin) and Marta (Maj-Britt Nilsson) meet as they're both musicians in an orchestra conducted by Sönderby (Victor Sjostrom).

She's the only woman in the orchestra, but it's not exactly that they have love at first sight in the slightest. Their connection grows following a party where Stig gets drunk and makes a depressing grandstanding fool of himself in front of friends, and somehow his downbeat manner is charming to Marta. Soon they grow closer, even fall in love perhaps, though their future marriage is complicated by Marta becoming pregnant. This scene, when she reveals it three months on to Stig, is the first real crack in the relationship. It only cracks more, with the occasional patch-up, and the question stands more or less- as Stig is looking back on the relationship following his wife and one of his child's deaths- is what could have come from all of this?

Bergman deals with his characters, at this stage in his career, in trying to just find the simple and really not very simple truths of what Stig and Marta are together and separate. For the first half it almost looks like Stig is a bit too two-dimensional, particularly for a Bergman film (and Olin doesn't play him extremely well, even if he does deliver the beats fairly well, perhaps in line with his own character's inadequacies). He can't seem to enjoy anything that he does because he always wants more, to be a supreme soloist, than to have what he already has gotten. Marta, on the other hand, after having several potential men before going with Stig, tries her best to cope with having two kids that she probably wasn't totally thrilled to have in the first place.

There's a great little scene where Sanderby recounts walking in on Stig and Marta after having some kind of odd tender moment (as well as later on after having a quarrel), without them noticing Sanderby walk in, and the expression still underneath their faces when he formally walks in. In typical Bergman fashion we see the disintegration of a relationship (quite a brutal argument in bed really, more of emotional violence than physical), even if the sort of 'patching-up' period towards the end is a little weaker than what's come before.

So on the one hand there is this aspect, the drama of two people having a constant push-and-pull tie that binds them through Stig's delusions of grandeur and self-pity and fear manifesting in other forms (notably into the arms of another woman) and Marta's own semi-helplessness, which is very good, if imperfect, as classic Bergman storytelling. On the other hand it's also one of the best examples of classical music being used as incidental music: there's not exact musical score like if we hear music accompanying the characters giving the emotional cues during an argument scene or when Sanderby offers advice or gets irritated at Stig, but rather the music of Sanderby's orchestra (and Sjostrom, I might add, is pitch-perfect in the role of the weathered and brilliant second-banana conductor) fills in the spaces at times of the emotional context.

Probably the most successful, and joyful, scene is when Stig finds out Marta has the baby, by running out quick during a rehearsal, the music going along as he's on the phone, then continuing as he sits back down, and as Sanderby asks quietly of one musician who asks another to another to Stig what happened, as the music plays on. This, plus the second greatest cinematic interpretation of Beethoven's 9th symphony 4th movement in a climax (the first being Clockwork Orange), make To Joy worth seeing all by itself, if only for Beethoven fans.

As one of the several films included on the recently released Eclipse DVD series, To Joy will appeal to fans of Bergman's knack at telling of characters in shattered, honest romance, and to those looking for some classical music bliss and have seen The Magic Flute or Autumn Sonata too many times.

Ingmar Bergman has rapidly become one of my favourite and most admired directors. He did go on to better things than To Joy and his other early films, but a lot of promise can be seen here. The characters are not as dimensional or compelling in their realism, like in the best of Bergman's films, Marta can be seen as too perfect and Stig is not an easy person to like at all. However, the acting is very good. Stig Olin and Maj-Brit Nilsson give strong performances but Victor Sjostrom gives the best performance. As ever with Bergman, To Joy is superbly directed, while the script is thoughtful and the film itself is beautifully shot. The story is intriguing and paced well, and there are some good themes that are well done they were written even more compellingly in Bergman's later films. The music is amazing and utilised beautifully. Overall, one of the better Bergman films if not among his better overall ones. 8/10 Bethany Cox

Somewhat one-sided and sometimes melodramatic portrait of a doomed marriage, this still has it share of lovely moments, not least of which is the on-screen performance of great classical music by the orchestra that both protagonists are part of.

While their romance starts sweetly, Stig rapidly turns into a hateful character, his failure to reach stardom as a solo musician translated into taking out his frustrations on his sweet wife, and coldly having an affair to counter his feelings of impotence and self-loathing.

While an interesting portrait of an artist's own ambition standing in the way of being better at their craft (it's Stig's need for approval and outward success that doesn't allow him to really thrown himself, body and soul into his music – or his marriage), Marta his wife just comes off as too perfect a martyr.

There are moments where the acting is very strong, and some of the photography is lovely, but the film just feels a bit like the character of Stig – too self-conscious and too sure about who is right and wrong. Still, there are lots of hints of Bergman's genius to come, and it's well worth seeing for those.

Stig and Marta are two young musicians playing together in a Swedish orchestra. They meet, they fall in love and they get married. If this synopsis leaves you expecting a romantic film, you'll be disappointed to find out a rough, realistic, yet very sentimental piece of art.

In this film, Bergman uses a quite interesting storytelling method that works really effectively. Although the way their marriage ends is revealed to us in the opening sequence making the rest of the film a flashback (a technique with which Bergman is already familiar with), when the movie reaches its final scene, one can't help but be extremely moved by the way things end up.

Once again, the performances are great and it is clear that these actors open up their own private world for all of us to see, and they can do that simply because they feel comfortable with a director like Bergman. They know they are in safe hands. Victor Sjostrom definitely steals the show (and Bergman will work with him again in Wild Strawberries), but it is the face of Maj-Britt Nilsson (Marta) that will remain in your mind for a long time.

Already in these early films of his, the Swedish master shows his love for close-ups. He likes to diminish the distance between the audience and the actors, especially their faces, sharing the belief that not only their eyes, but also the texture of their skin can reveal to us a whole lot of things about the characters. After all, close ups are one of the great advantages of cinema that have ultimately become one of the most characteristic building blocks of this art form, and Bergman working simultaneously in the theatre, is very much aware of that. Although the extreme close ups are easier to notice and admire, Bergman has also a great arsenal of shots and camera movements that so easily uses in this film. The shots of the orchestra performing either from high above or through the musicians, shows a camera that can move constantly but also in a discreet and, one could say, abstract way. He also proves to be very capable with mise-en-scene, as deep-focus long takes are used in several scenes.

The use of music is also notable, as you will definitely see for yourselves in the remarkable montage sequence in the ending. Classical music is of course common in the director's filmography, but it follows certain stages that are worth mentioning. In his first period, in which "To Joy" is definitely included, Bergman uses pieces performed by large orchestras, grandiose in a way. And it's certainly no coincidence that in these films, a great number of characters are used for narrative purposes (surely Stig are Marta are in the foreground, but there's also the conductor, Sonderby, the mistress and her old husband, Marcel and a few others). But from early 60's on, begins a period in which Bergman uses music of a smaller scale (especially string quartets) and in these films very few characters are introduced to us and, very often, in an isolated place (e.g. Through a Glass Darkly, Silence, Persona).

If you watch carefully this film, you will see many signs of what Ingmar Bergman is going to evolve to. His dramatic approach in human relationships and his effort to capture those moments between two heartbeats, between two lovers. But also his realistic point of view, especially when it comes to marriage (as Scenes From a Marriage a good 20 years after will confirm). A very good film.

Although the plot of this film is rather simple - a man reflecting on the good and bad times that he had with his wife - it is handled well by Bergman, who gives the film an interesting audio and visual side, including creative editing changes, and at least one meaningful aerial shot early on the piece. The protagonist and his wife are concert musicians, and in the first few scenes, and in some later on, non-original music is used superbly to coincide with the action on screen. There are however a few concerts scenes that may have been better had they been trimmed in length, as seeing a whole concert performed is not necessary in the story. Although the film is mostly a series of memories, there is also one is ill-judged point in which a character other than the protagonist starts to narrate events, which is not possible in the way the story is told. Also, there is room to complain about the film being a bit too literal, but there is hardly reason to concentrate on the drawbacks of the film when it is such a delight to watch, and so well done where it is well done. Victor Sjöström, as the maestro, delivers fine support, and the film is an excellent example of great visual storytelling. In the years after this, Bergman would go on to direct more complex films that would require more skill on his behalf, but this early entry still stands up fairly well, even if not up to the standard of some of his latter work. The final sequence is especially well done, both in how it uses music, and in the contrast that it has to the first scene in which the man's son is seen.