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Bad girls and illicit interludes: Ingmar Bergman outside the box

Humphrey, Daniel

Post script, 2015-01, Vol.34 (2-3), p.12-35 [Periódico revisado por pares]

Commerce, Tex: Post Script, Inc

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  • Título:
    Bad girls and illicit interludes: Ingmar Bergman outside the box
  • Autor: Humphrey, Daniel
  • Assuntos: Advertising ; Alternative cinema ; Analysis ; Art films ; Bergman, Ingmar ; Cinematography ; Criticism and interpretation ; Dreyer, Carl Theodor (1889-1968) ; Errors ; Exploitation ; Exploitation films ; Film studies ; Filmmakers ; Marketing ; Motion picture directors & producers ; Movie directors ; Sex (Psychology) ; Sexuality ; Versions ; Works
  • É parte de: Post script, 2015-01, Vol.34 (2-3), p.12-35
  • Descrição: [...]the title of the Kroger Babb version, distributed under the imprimatur of Babb's company, Hallmark Films, was not Monika, the Story of a Bad Girl, as repeatedly claimed.6 Viewing it, one can confirm that the title as it appears on screen is simply Monika (see Fig. 23 below).7 Secondly, while Babb replaced Erik Nordgren's fine, sparsely deployed score with often-cloying music by popular American composer Les Baxter, it is not a "jazz," or even a particularly "jazzy," score, as commonly reported, even, embarrassingly enough, by myself in an earlier publication.8 Thirdly, and perhaps most importantly, now that the sixty-two minute version of Monika (hereafter referred to as the Hallmark cut) has been found, I can confirm that it contains no added salacious content as many film historians have suggested.9 Upon watching the Hallmark cut, one notes that, in fact, a lengthy instance of nudity found in Bergman's cut has actually been excised. Working almost perfectly, this segue is followed by a tilt down and a quick cut to a lateral tracking shot of Marie, or, rather of the legs of the American actress taking over from Maj Britt for the sequence, running through the trees. Because of the similarity of the foliage seen in the first and second shot of this added sequence, the speed of the movement of the camera, and because the jump cut between the first two added shots actually serves to suggest a single shot that is just missing a few frames, a remarkable effect is created: it seems as if Marie is stepping into her own POV shot. [...]the sequence in which the owners of the island house capture Monika in their root cellar and drag her into their home to wait for the police has been excised. David Kehr praises the thinking behind Bergman's choice, one effectively darkening the film's tone: "Bergman doesn't give us the reverse angle-the heartwarming close-up of a smiling infant, from Harry's point of view-that would provide some emotional balance and compensation; there is only a fade to black." Since its existence in the Hallmark cut is likely the result of a pre-release version being sold to Babb, one can only surmise that the point-of-view shot of the baby was excised late in Bergman's editing process. 10I say, "seems to," since I cannot confirm with complete certainty that Hakim and the Davises booked the film into its Washington engagement.
  • Editor: Commerce, Tex: Post Script, Inc
  • Idioma: Inglês
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  • Realização: ABCD-USP USP   Logos de Redes Sociais: Freepik

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