To Joy

Quite underrated, including by Bergman. Yes there's some clunkiness in the melodrama, and if the end is intended to be "optimistic", then it is obviously a miscalculation (it is, however, possible to interpret the ending otherwise), but there are some very well-written scenes, performances and camerawork are excellent, and the idea of telling a story about musicians through music is a good one that is mostly done well. Clearly autobiographical and kind of a prototypical SCENES FROM A MARRIAGE.

One of Bergman's loveliest. It's surprising to find such fine camerawork this early in his career. This is a wonderful blend of the kind of cynicism and bitterness that would later be seen in films like Scenes from a Marriage, and an optimism and warmth you don't often see in his work. "Ode to Joy" is certainly an easy piece of music to fall back on for an emotional moment, and it does give the ending -- especially with its montage -- a somewhat manipulative feel.

Possibly the Worst Husband Ever. Acts as a nice prologue to Wild Strawberries. Is this the first film that introduces being cucked? Sjostrom has a terrible haircut.

The potential prison of marriage and fatherhood. The disgust that comes with clarity, but also the realisation of love. While there are some clunky components to the film, this matters little for the barbed nature of the dialogue (it's Bergman after all) and the superbly tortured performance of Olin in combination with epic bursts of Beethoven - that's how you finish a film, with the 9th - is powerfully emotional. Bergman, even this early in his film making, is getting at the heart of humanity.

Tempestuously bitter and sulky up to the somewhat remarkable conclusion, where Bergman thrivingly propose hope in all the gloom. Not top notch, not very powerful. But very, very good.

Getting to grips with sadness as a giant orchestra fills the sound space with familiar and massive works. It was more the musical aspect and Victor Sjöström that drew me in than the couple and love story we got. And because of it I didn't get as much joy out of this Ingmar Bergman that I probable should have, but you get a sense of the vision he intended even if it didn't hit me hard enough.

Sublime cosmic joy that is both restorative and protective, beyond the swing between ecstatic joy of superioirity and nihilist desperation of valuelessness, and which is connected to real fidelity. To be capable of enjoying that cosmic joy is always a struggle within and beyond that swing. The use of music is great, especially "Ode to Joy".

Há 70 anos estreava Rumo à Felicidade na Suécia. O final do filme é deslumbrante, o desenvolvimento dele nem tanto, mas me soou extremamente pessoal, o protagonista masculino é um retrato quase fiel do que Bergman era com suas mulheres, só resta saber se naquela altura o Ingmar se achava mais um músico medíocre na orquestra do grande maestro Sjöström. Box Versátil Coleção Ingmar Bergman Volume 10.

You get the feeling Bergman wanted, above all, to make a film about an orchestra and also insert some thoughts on his own impending divorce. At some point he loses nerve and takes a few too many easy ways out. But when he really hands over the reins to the music it's stunning.

Probably one of the earliest works to decidedly signal a more sure-footed Bergman, but its on-the-nose conclusion with its on-the-nose montage is a weird, jarring device not otherwise seen much from Bergman. Also jarring and foreign: that optimism! Oh, how cute was Bergman's romantic youth?

After having a rocky start with Bergman's early work, this is a wonderful change, on all fronts; the first half hour feels like 10, the camerawork is beautiful, the choice to put the end in the beginning is extremely bold, and even when i'm not listening to what they say, I can still understand what's going on. This is another one of those great films with a detestable leading man, i.e. The Graduate

Star Rating: ★★★1/2

74.000

It lacks the despair of most of Bergman's work; though still a sad movie, it contains an optimism that would be absent from such efforts as Cries and Whispers or Winter Light. It's practically fully-formed with regard to Bergman's filmography, with excellent camerawork and compositions, and an unmatched ability to portray romantic relationships in their ups and downs. The ending montage is a bit forced, but otherwise it's a very strong movie.

After being told what happens to Marta in the beginning you expect the film to end on a depressing note, but that's not the case. In fact, it's almost triumphant.

This is such a strange film for Bergman. The musical montages and the bizarre villains are unlike anything in other Bergman movies. But somehow this is my favorite from the "Early Bergman" box.