might’ve given this a higher score if Bergman hadn’t called me a slut at the end

¥𝐺𝑜𝑜𝑑 𝐹𝑖𝑙𝑚𝑠 𝐼’𝑣𝑒 𝑊𝑎𝑡𝑐ℎ𝑒𝑑/𝑅𝑒𝑤𝑎𝑡𝑐ℎ𝑒𝑑 𝑆𝑜 𝐹𝑎𝑟¥

𝐇𝐚𝐭𝐞 𝐭𝐨 𝐬𝐚𝐲 𝐢𝐭, 𝐛𝐮𝐭 𝐭𝐡𝐚𝐭’𝐬 𝐰𝐡𝐚𝐭 𝐡𝐞 𝐠𝐞𝐭𝐬. 

𝐈 𝐠𝐢𝐯𝐞 𝐭𝐡𝐢𝐬 𝐩𝐢𝐜𝐭𝐮𝐫𝐞, “𝑨 𝑺𝒉𝒊𝒑 𝑻𝒐 𝑰𝒏𝒅𝒊𝒂”, 𝐰𝐫𝐢𝐭𝐭𝐞𝐧 & 𝐝𝐢𝐫𝐞𝐜𝐭𝐞𝐝 𝐛𝐲 𝐈𝐧𝐠𝐦𝐚𝐫 𝐁𝐞𝐫𝐠𝐦𝐚𝐧 𝐚 𝟒/𝟓 𝐬𝐭𝐚𝐫𝐬.

𝐆𝐫𝐚𝐝𝐞: 𝐀-

“𝑆ℎ𝑒 𝑔𝑎𝑣𝑒 𝑚𝑒 𝑎 𝑙𝑜𝑡 𝑡ℎ𝑎𝑡 𝐼’𝑙𝑙 𝑛𝑒𝑣𝑒𝑟 𝑓𝑜𝑟𝑔𝑒𝑡.”
“𝑀𝑢𝑠𝑡 𝑏𝑒 𝑛𝑖𝑐𝑒 𝑏𝑒𝑖𝑛𝑔 𝑠𝑜 𝑏𝑒𝑎𝑢𝑡𝑖𝑓𝑢𝑙.”
“𝑀𝑦 𝑤𝑜𝑟𝑑𝑠 𝑑𝑜𝑛’𝑡 𝑟𝑒𝑎𝑐ℎ 𝑦𝑜𝑢, 𝑎𝑛𝑑 𝑦𝑜𝑢𝑟𝑠 𝑑𝑜𝑛’𝑡 𝑟𝑒𝑎𝑐ℎ 𝑚𝑒.”
“𝑌𝑜𝑢’𝑟𝑒 𝑡ℎ𝑒 𝑓𝑖𝑟𝑠𝑡 𝑝𝑒𝑟𝑠𝑜𝑛 𝑡𝑜 𝑏𝑒 𝑛𝑖𝑐𝑒 𝑡𝑜 𝑚𝑒 𝑤𝑖𝑡ℎ𝑜𝑢𝑡 𝑤𝑎𝑛𝑡𝑖𝑛𝑔 𝑎𝑛𝑦𝑡ℎ𝑖𝑛𝑔 𝑖𝑛 𝑟𝑒𝑡𝑢𝑟𝑛. 𝐼𝑓 𝐼 𝑐𝑜𝑢𝑙𝑑 𝑓𝑎𝑙𝑙 𝑖𝑛 𝑙𝑜𝑣𝑒 𝑤𝑖𝑡ℎ 𝑠𝑜𝑚𝑒𝑜𝑛𝑒… 𝐼’𝑑 𝑓𝑎𝑙𝑙 𝑖𝑛 𝑙𝑜𝑣𝑒 𝑤𝑖𝑡ℎ 𝑦𝑜𝑢.”

𝐓𝐨𝐦𝐨𝐫𝐫𝐨𝐰’𝐬 𝐅𝐢𝐥𝐦: ᕈoɾt oƒ ᙅᥲꙆꙆ (𝟏𝟗𝟒𝟖, 𝐈𝐧𝐠𝐦𝐚𝐫 𝐁𝐞𝐫𝐠𝐦𝐚𝐧)

𝒂𝒏 𝑰𝒏𝒈𝒎𝒂𝒓 𝑩𝒆𝒓𝒈𝒎𝒂𝒏 𝒑𝒊𝒄𝒕𝒖𝒓𝒆 | 𝒂 𝑺𝒘𝒆𝒅𝒊𝒔𝒉 𝒑𝒊𝒄𝒕𝒖𝒓𝒆 | 𝒂 𝒑𝒊𝒄𝒕𝒖𝒓𝒆 𝒓𝒆𝒍𝒆𝒂𝒔𝒆𝒅 𝒊𝒏 𝒕𝒉𝒆 𝟏𝟗𝟒𝟎𝒔

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.

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 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.

these men are way too insecure about their nonexistent hunchbacks

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

A Ship to India offers nothing new from Bergman’s first two movies. Its another Crisis, this time a son and father. 
I felt the character works are weak in the movie except for the son and father, that we start loosing the emotional interest as the movie ends. 
The camera looked promising at the starts and then goes flat. 
Performances are great which saves the movie. 

Ingmar Bergman Ranked