avik-basu1889 For a film which was released in 1953, 'Summer with Monika' has some scenes that are pretty risqué. Bergman uses some eroticism to decorate the intensity of the young love that blossoms between Monika and Harry. This is at its core a coming-of-age film, specially from Harry's point of view. Two youngsters of contrasting attitudes, contrasting backgrounds and contrasting aspirations get attracted to each other and we witness their innocent, yet intensely passionate love affair. They leave the civilisation of the city behind and start exploring life in a new way together in the midst of the wilderness of the country isolated from the general population.However as it invariably happens, life refuses to allow these youngsters an extended spell of joy and somewhat inevitably, worldly realism starts to eat into romanticism. But as happens with every unhappy reality, this proves to be a learning experience for Harry and it ends up learning something about himself, about others and about life. Some viewers might opine that Bergman goes a little overboard and somewhat vilifies Monika a bit too much, but I think it is a depiction of the reality that awaits everyone who embarks on a journey which requires maturity while still being immature.'Summer with Monika' includes some of the quintessential Bergman elements like long takes, extended extreme close-ups to underline internal conflict or emotional shift, lingering shots of nature, symbolism, etc. However the metaphors get a bit too on-the-nose at times here. Specially the character of Lelle appears abruptly on multiple occasions without any logic, just to act as a metaphor which is somewhat off-putting.Harriet Andersson and Lars Ekborg are really good as Monika and Harry respectively. They make their characters as well as their relationship believable and passionate which makes us root for the 'happily ever-after'.'Summer with Monika' is certainly not one of Bergman's best films. But it does contain some of the masterful touches that Bergman would polish even further to make numerous masterpieces. But even then, I think 'Summer with Monika' deserves to be seen as an early piece of work from one of the masters that has something to say about the brutality of life.

Hitchcoc Two young people, stuck in pointless jobs, find each other. Monika is in love with love and Harry is a willing partner for her. He is simple and kind and doesn't see the pitfalls ahead. She is the aggressor at all times, and he is so smitten it makes no difference. The two quite their jobs and steal a boat to take off to who knows where. The enjoy themselves for a while. However, a young man who Harry has had trouble with before, sets the boat on fire and throws all their supplies and clothes overboard. They put out the fire but it is an event they can't overcome. It is also getting cold and Monika is pregnant. Harry is the mature one and tries his best but she is still a child with a huge streak of selfishness. She feels her life should be like in the movies (Harriet Andersson does a magnificent job. At times she is pretty. At others, very plain). When the real world hits, Harry's taking responsibility for his new family (a little girl is born) is a big bore to Monika. While he studies and trying to better himself and ultimately bring more money to the family, she is having men up to the apartment. She says she is in love and shows her disdain in every way possible. This is a slice of life thing with real human beings doing what human beings do. Sometimes that means they cut each other's hearts out. Since the entire foundation of their love was based on an empty need for affection, it stands to reason at some point it will all come tumbling down.

gizmomogwai Now the earliest film I've seen from Bergman, Summer with Monika has Harriet Andersson in the title role, before she went on to star in Bergman's classic Through a Glass Darkly (1961). I don't feel Bergman really found his groove until 1957 (The Seventh Seal and Wild Strawberries), but Summer with Monika shows the rising director had some promise.The main problem I have with this one is that it doesn't really take off until half way through; little seems to be happening in the beginning, just a young man frustrated with his job, in love with a girl others call a "slut." It lacks the magic and complexity Bergman mastered with his 1957 films, Persona and number of other later works. Eventually the young lovers escape their dreary existence to live outdoors; at first it seems idyllic, a summer fantasy. Monika gets naked (yes!) and we can't blame our hero for impregnating her. It's here where the challenges begin; they have to feed her, but she's unwilling to go back to town. When they have no option, he labours with his studies and struggles to pay the rent, while she finds herself lacking fine things.As the conflict heats up, the film becomes more interesting. If this had been a simple story of young love, a dreamy summer, and a happy ending, there would have been little memorable about it. Summer with Monika is kind of a warning that a summer of screwing around doesn't always lead to the best consequences (which flies in the face of attempts to glory in such behaviour, like Kid Rock's "All Summer Long" song). But Harriet Andersson's nudity is also a highlight- rare for this era of cinema, and she looks great.

runamokprods The first half recalls Bergman's earlier 'Summer Interlude'. But the second half goes further and explores the 'what if' of the summer romance between teens; moving into parenthood, marriage, and disillusionment.The acting is excellent, and unlike 'Summer Interlude' these actors look close to the naive age they're playing. The film's point of view sometimes felt a bit one sided to me with 'bad girl' Monika, from a crude, poor family, less willing to extend herself than her upper-class boyfriend Harry. Of course, along with being selfish she is also the more complex and fascinating character, especially as played by the young Harriett Andersson. Some critics make the argument – with merit – that the film doesn't judge Monika,the audience does. Indeed, it could be argued that the film is meant to make us question our own judgment of a poor girl who is brought up with dreams of marriage as a glamorous escape, and not just a humdrum existence. It's not for nothing the heroine is obsessed with Hollywood love stories. Andersson's performance may be the first of the many hyper-real and extremely complex characters in Bergman's body of work, transcending 'type' and moral judgment. The film was beloved by the French New wave filmmakers, who saw in it's complex attitude (and very brief nudity) a throwing off of the shackles of conventional characters and storytelling.