Sailor Johannes Blom returns to his home port, after seven years at sea, to find that Sally, the girl he has been thinking of while away, is completely despondent. Seven years earlier, obstreperous Alexander Blom, brings his mistress Sally to live with him, his wife Alice, son Johannes, and crew, aboard the salvage boat he captains. Amidst all the tensions on the small boat, Johannes and Sally fall in love with each other.
Holger Löwenadler Anna Lindahl Birger Malmsten Gertrud Fridh Naemi Briese Hjördis Petterson Lasse Krantz Jan Molander Erik Hell Åke Fridell Douglas Håge Ingrid Borthen Peter Lindgren Gustaf Hiort af Ornäs Rolf Bergström Amy Aaröe Gunnar Nielsen Svea Holst Kiki Uno Larsson Ingmar Bergman Charles White John W. Björling Rosalie Björklund Torgny Anderberg
A Ship Bound for India, Корабель йде в Індію, The Land of Desire, Frustration, Skeep till India land, La terra del desiderio, Barco a la India, Hajóval Indiába, L'Éternel Mirage, Корабль идет в Индию, 开往印度之船, Laiva Intiaan, Корабель до Індії, Okręt do Indii, 인도로 가는 배, Um Barco Para a Índia, O navă către India
Sweden15
FinlandK-16
Finland
Sweden
Action! - of God and Man: Bergman and the Hopelesness Kind
Bergman once again does his thing with a pretty good drama that leans more into romance with a few hints of film noir. This is actually more evident and ever more present in the lighting department which in many ways steals the show. The way and how much it uses this effect where it leaves everything a line in the eyes, highlighting them and putting all the focus on them, gets a little overused, it still was great. Again, the way Bergman places the camera and close to his actors allows for you as an audience get a better grasp of their really good performances with Fridh, if I…
This is another one of Ingmar Bergman’s early works and just like “Crisis” it is an interesting look at the start of his career.
The movie was a bit darker than his first movie and not as coherent, but it still had many glimpses of the style that he would learn to perfect over the years.
The story is a classic love story, where father and son fall in love with the same woman but she is not sure if she loves any of them.
The story is basically one big flashback and the movie only begin and end during the present. I think the movie should have explored the present more and visited more characters from the past or they should simply not have had scenes in the present and just told the story.
The acting was great and the movie had some good cinematography but for a Bergman movie it still felt like something was missing.
“It’s strange... tomorrow it all starts again.”
Bergman’s third film, A Ship to India, is a reasonably grounded and neatly refined melodrama that’s comfy and amusing enough, even if it isn’t exceptional by any means. Taking place primarily in flashback aboard a cosy ship setting, the drama follows a fairly typical narrative of the love dilemmas between a married couple, their son, and the father’s mistress; remaining more serious and visually darker than the earlier, similarly melodramatic Crisis, as well as displaying a much more clearly defined direction in terms of intention and style. Maybe it is just my slight affection for the sub-genre but I did kind of enjoy this, and it’s assuredly far from being ‘a major disaster’ as the director would later describe it.
☆"If I could fall in love with someone, I'd fall in love with you."☆
My Journey into the Films of Ingmar Bergman -- Part 2 of 62
Bergman is back with his third feature film, Skepp till India land ["A Ship to India"], released as Frustration in the U.S. I'm told that this is "[e]ven less Bergmanesque than Crisis," at least that's what my friend Frank said. Since I don't know what Bergmanesque means -- as I have seen literally one film from him -- I dive in with open eyes.
The hunchbacked sailor Johannes (Birger Malmsten) was living in the shadow and on the ship of his cruel and drunken father (Holger Löwenadler) as first mate. Coming home for…
Bergman's third feature lays out several of the themes he would explore throughout his career like mortality, loneliness and alienation. The story involves a sailor named Johannes Blom who returns to his home town, after seven years at sea, to discover that Sally, the girl he has been dreaming of while away, is completely distressed. Seven years earlier, father of the year Alexander Blom, brings his mistress Sally to live with him, his wife Alice, son Johannes, and crew, aboard the salvage boat he is the captain of. Amid all the tensions on the small boat, Johannes and Sally fall in love with each other. This melodrama is a long way from being Bergman's best film, but there are redeeming qualities to it, one of which is the moody atmosphere which was apparently influenced by French poetic realism.
man: *tries to rape woman but is stopped*
*next day*
man: "can we forget about what happened yesterday?"
woman: "haha sure, I totally get it"
man: "wanna go to a secluded spot I wanna show you something"
woman: "haha ok that sounds fun"
Bergman's third - a good looking but horribly heavy-handed and ridicilously overacted melodrama with at times incomprehensable characters and a lot of padding. Like all early Bergman films it is however interesting for fans of the director, as the theatrical plot structure (monologue, dialog, plot development, monologue, dialog, foghorn) is pretty straight forward and not too far away even from the director's later masterpieces. The difference is that everything everyone is saying in A SHIP BOUND FOR INDIA is hokey-pokey and everyone is trying to be the drama queen.
Bergman himself was tremendously proud of the film when he did it, which is strange considering his two previous films (CRISIS and IT RAINS ON OUR LOVE) are clearly superior. Eventually, people dared tell him the film actually sucked and he rarely spoke of it again.
Bergman’s third film, yet another extremely fucked up coming of age story, darker than Crisis, but unfortunately messier as well. Elements work for me, the abusive father son relationship is well written, likely because Bergman has a lot of axes to grind there. The biggest problem is the female characters, they are painfully underwritten, problematic at times. The themes at play with the female characters just don’t gel with the bulk of the film. Uncharacteristic for Bergman.
Besides from all that, it’s well directed and there are a few moments of brilliance. One shot in particular struck me, where a man sits and mopes in an apartment while the police are trying to get in, waiting motionless to be arrested, realising there is no point in escape.
The boxset has a thematic arrangement as I previously mentioned. So far all three films have had love triangles where a child cuckolds their parent. Ingmar you sly dog.
Film 3/39
The main characters in this story, told in flashback, are all struggling with life, and in this film Bergman give us a painful father/son relationship that probably reflects the difficulties he had with his own dad. Here the son has grown up a disappointment to his father because of a small hump on his back and a milder personality, while the middle-aged father, a bully, feels as though he’s missed out on things in life and wants to run off to the south Pacific with a showgirl. His mother has suffered from abuse over the years, and her husband now wanting to leave seems especially unjust since she worked hard with him in the early days of their business salvaging…
sorta strange that two of Ingmar Bergman’s first films detail plots of parents and children fighting over a lover
