The Gorgeous Swedish Summer Ingmar Bergman’ Summer with Monika starring Harriet Anderson, photography by Gunnar Fischer. The film portrays the story of a teenage couple. Harry (Lars Ekborg) and Monika (Harriet Andersson, with whom Bergman was having an affair during filming), run away from home to spend a languid summer making love and living off whatever they can swipe from local farms. “Admittedly, of all modern directors he alone has not openly rejected those devices beloved of avant-gardists of the thirties: superimpositions à la Delluc, reflections in the water à la Kirsanoff, back-lighting à la Epstein, that whole bric-à-brac of effects which one now finds only in the films of Gréville and Robert Hossein, or in amateur film festivals. But the use today of such outmoded tricks is audacity on Bergman’s part. As used by the director of Summer With Monika, those mannered compositions, those bizarre angles, those shots of clouds, lakes, undergrowth, are not gratuitous camera tricks or technical virtuosity. On the contrary, Bergman always manages to integrate them into the psychology of his characters at the precise instant when he must evoke a precise feeling. Thus, for instance, a track out at dawn to express Monika’s pleasure in her journey by boat through an awakening Stockholm; and later, the same tracking shot on the river and its embankments, but forwards this time as Monika returns, weary and disillusioned, to a sleeping Stockholm.”Godard on Summer with Monika. See an extract here
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The Gorgeous Swedish Summer

Ingmar Bergman’ Summer with Monika starring Harriet Anderson, photography by Gunnar Fischer. The film portrays the story of a teenage couple. Harry (Lars Ekborg) and Monika (Harriet Andersson, with whom Bergman was having an affair during filming), run away from home to spend a languid summer making love and living off whatever they can swipe from local farms.

“Admittedly, of all modern directors he alone has not openly rejected those devices beloved of avant-gardists of the thirties: superimpositions à la Delluc, reflections in the water à la Kirsanoff, back-lighting à la Epstein, that whole bric-à-brac of effects which one now finds only in the films of Gréville and Robert Hossein, or in amateur film festivals. But the use today of such outmoded tricks is audacity on Bergman’s part. As used by the director of Summer With Monika, those mannered compositions, those bizarre angles, those shots of clouds, lakes, undergrowth, are not gratuitous camera tricks or technical virtuosity. On the contrary, Bergman always manages to integrate them into the psychology of his characters at the precise instant when he must evoke a precise feeling. Thus, for instance, a track out at dawn to express Monika’s pleasure in her journey by boat through an awakening Stockholm; and later, the same tracking shot on the river and its embankments, but forwards this time as Monika returns, weary and disillusioned, to a sleeping Stockholm.”
Godard on Summer with Monika.

See an extract here