Smiles of a Summer Night (1955)

"Smiles of a Summer Night" is easily one of Ingmar Bergman's most entertaining films and is probably the best film to begin one's studying of Bergman 101. It was the film that introduced the now legendary Swedish auteur to the world, after winning a Grand Prix prize in the 1956 Cannes Film Festival. Indeed, the 1955 romantic comedy is definitely a standout piece of its time, as it has unexpected depth, which arguably lacks in a lot of movies of its kind.

Set in turn-of-the-century Sweden, its plot revolves around sets of couples switching partners on a summer night. There is Fredrik Egerman (Gunnar Bjornstrand) and his young wife Anne (Ulla Jacobsson); Fredrik has a son, Henrik (Bjorn Bjelfvenstam), from his deceased wife; but is also involved with the actress Desiree Armfeldt (Eva Dahlbeck); Desiree is also the mistress of Count Carl Magnus Malcolm (Jarl Kulle); while Malcolm is married to Charlotte (Margit Carlqvist), who is also a friend of Anne. Also thrown into the mix are Petra (Harriet Andersson) as the young maid of the Egermans, and Frid (Ake Fridell), the Armfeldt's groom, who both provide an interesting commentary at the film's denouement, explaining the film's title.

These characters exchange the wittiest quips about their concept of love as this unattainable object of desire. While some of them settle for sexual pleasures, as it is perhaps the easiest to attain for most of them, others are tormented by its elusiveness. It's simply funny how these characters confuse genuine love and sexual desires with each other. Two of the most absurd remarks are uttered by Count Malcolm who initially says, "I can tolerate my wife's infidelity, but if anyone touches my mistress, I become a tiger", after his wife informs him of his mistress' involvement with Egerman; but later on screams, "I can tolerate someone dallying with my mistress, but if anyone touches my wife, I become a tiger", after his mistress tells him about the possibility of his wife being unfaithful. These false perceptions and misconceptions probably best capture man's tendency towards ignorance when it comes to this most talked about topic. Its bittersweet moments make this film feel, in a way, somewhat real.

Quite frankly, this meandering about love and carnal desires is undoubtedly Bergman at his funniest, while still being able to maintain his delicate approach in his subject matters. It is charming, witty and hilarious - adjectives that aren't usually associated with the serious filmmaker who would later on discuss heavier topics about faith, fidelity and fatality. "Smiles of a Summer Night" may seem light but it doesn't mean it should be taken any less serious.