Gycklarnas afton Page #2

Year:
1953
96 Views


- It doesn't matter what you thought!

Climb down from there and get back

to the fairground, where you belong.

- Yes, but...

- Shut your mouth, circus ape!

Do I have to read you the law?

Get down and clear out.

Cop! Cop! Stupid fop!

Unharness the horses!

We'll keep them until tomorrow.

That'll teach you to be impudent!

Damned buskers!

You can't play here when we're playing!

- Why do that?

- So she can't say they're dirty.

Oh, to hell with them!

You shouldn't drink in the morning.

What time will you be back,

or are you staying the night with her?

I haven't seen my boys in three years.

Then why bother now?

You don't understand.

Your wife's just waiting for you

to go back to her.

- And to help out in her shop.

- Shut up!

You don't deny it,

because you want to give it all up.

You're getting old and rickety,

and scared!

I'll be back for the show.

Please don't go!

Don't go! I beg you.

Crying? Are you jealous?

Is that so strange?

You'll go off and you won't come back.

You're sick of the circus and of me.

What'll I do without you?

But I love you.

Then you wouldn't visit your wife.

- I do love you.

- No, you don't.

All right, I don't!

I won't be here when you get back.

Where will you go?

I won't be here, anyway.

Don't blame me.

I won't be here!

- Can I help you?

- I'd like...

- Don't you recognise me?

- No, sir.

- Can I help you?

- Is your mum here?

- May I speak with her?

- She's making our dinner.

May I wait?

- Nice weather we're having.

- Are you my father?

Yes.

- How are you and Albert?

- He lost a tooth yesterday.

You help mother in the shop, eh?

That's a good boy.

I mean... Good boy.

- How old are you?

- Nine.

A young man. Join the circus.

No! Mum's coming now.

Hello, Agda.

I was in town

and thought I'd drop in.

- Hungry?

- Do I look it?

I didn't mean that.

Yes, please.

Come in, then.

Mind the shop.

- All I can offer you is pancakes.

- That'll be fine.

- Things are going well for you.

- I took over the other tobacco shop.

So we're the only ones in town

selling tobacco now. It's profitable.

- You've kept the old shop?

- Of course.

- Take off your coat if you're hot.

- I'm all right.

Take off your coat,

I'll sew on your button.

- What happened to all your shirts?

- That's my business.

- You could buy one, then.

- I'm broke!

Don't shout.

Leave, if you're going to quarrel.

- You can borrow from me.

- How dare you!

- Watch your mouth!

- My mouth?

Keep your nose out of my affairs.

I will not be patronised.

Why so sensitive?

Why shouldn't you borrow from me?

- You want to get even now, eh?

- Why should I?

Stop acting. You're terrible at it.

You mean because you left me?

Don't you understand that I'm grateful?

- What?

- I'm grateful that you left me.

I finally found peace,

and my life became my own.

No more of that dreadful circus

that I always loathed and feared.

All the shouting and swearing,

insecurity, misery, lice and illness.

No, I'm happy now. And grateful.

- Shall we go in the other room?

- Of course.

- You're damned capable, Agda.

- That's nice to hear.

We had good times, too,

before you inherited the shop.

I didn't like you training the boys.

I was always afraid.

Those were hard years.

- Why did you come?

- I was in love.

- But that passed?

- Need we speak of that?

- Maybe not.

- I was really in love with you.

But when you left me,

my love died almost overnight. Strange.

I didn't leave you.

You stayed here, I moved on again.

Why talk about it?

Unlike you, I'm always in a muddle.

- Are you in trouble financially?

- Need you ask?

- Cheers, Albert.

- Cheers, Agda.

Thanks for the meal.

It's always the same and so silent,

summer and winter.

Yes, it's a quiet street.

Year in, year out.

- Life stands still.

- To me, it's fulfilment.

To me, emptiness.

I am but a poor jester

in this farce of shadows.

Her deceitful heart, her frailty,

even her provoking indifference

changes my world,

from day to day, from hour to hour.

Am I the Count of Chamballe...

or the most miserable of wretches?

Therefore, dagger,

leap from thy hiding place -

and find a place where thou

canst slake thy thirst.

How gladly I greet thee, sweet mistress...

and press thee to my breast.

Let us celebrate our union

in this quiet park,

where first my cruel goddess

granted me her favour.

Farewell, oh world.

Farewell, my sovereign!

May thy tears water my poor grave.

I die.

Curtain!

Everyone on stage!

That's it for today.

You were all dreadful.

You're an idiot, Blom!

I want to leave the circus.

- You're laughing at me.

- I'm smiling, because you're beautiful.

You needn't marry me,

just take care of me.

You smell of stables,

cheap perfume and sweat.

I'll lick you like a dog.

What make-up! I'll teach you.

Give me your mouth.

- Do I smell of sweat?

- I was only teasing.

- My perfume is cheap.

- Use some of mine.

You have nice hands.

- It must be expensive!

- Take it, it's yours.

I can't help but smell.

Everything in our wagon smells of stables.

Make up my face.

No need.

- Who gave you that?

- It's for luck.

From a woman!

I'll be gone when he returns.

No Spanish rider for his decrepit horses.

No lady in tights for the drunk

conjurer to saw in two. I'll be gone!

- And when you tire of me?

- I'll kill you.

- If I don't kill you first.

- I'm strong! Feel my muscles.

Oh, my.

- I crack nuts with my teeth.

- I'm frightened.

I can ride bareback at full gallop,

gripping only with my thighs.

- Can you do that?

- I don't think so.

You're a weakling.

You have a nice body,

but you need exercise. You're flabby.

Shame on you.

Let's arm wrestle. I bet I'll win.

You eat too much.

Let me go! I don't want to!

You want me to let go of you?

I can't! Leave me be!

Give me the key!

How do you make the bears dance?

- Do you use hot irons?

- Give me the key.

- Do you hate me?

- Give me the key!

You do.

I prefer you that way.

- Give me the key.

- You'll get it. Later.

- The key.

- Finish the game first.

This amulet is very valuable.

The gift of a grateful lady.

If you're good, you shall have it.

You can live on it for a whole year.

You can leave the circus.

It will bring you good luck.

Sell it to the corner goldsmith.

I can live on it?

At least a year. Real pearls.

See for yourself.

And you'll give me the key?

I promise.

And never tell?

Never tell.

- That's done now. I've done what I could, but...

- That's kind of you.

As I was saying...

- How do you do?

- What do you want?

Mummy, there's an old man with a barrel organ

and a monkey does tricks for a penny.

That's a lot of money.

Please, Mummy!

I'll give you one.

- Thank him properly.

- Thank you.

- Run along now.

- Goodbye.

- Tired?

- From the brandy and all the food...

- Agda...

- Yes?

I don't quite know how to say this.

- Don't say it, then.

- You won't get angry?

I can't promise.

Very well - I promise.

I want to stay here with you.

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Ingmar Bergman

Ernst Ingmar Bergman (Swedish pronunciation: [ˈɪŋmar ˈbærjman] ( listen); 14 July 1918 – 30 July 2007) was a Swedish director, writer, and producer who worked in film, television, theatre and radio. Considered to be among the most accomplished and influential filmmakers of all time, Bergman's renowned works include Smiles of a Summer Night (1955), The Seventh Seal (1957), Wild Strawberries (1957), The Silence (1963), Persona (1966), Cries and Whispers (1972), Scenes from a Marriage (1973), and Fanny and Alexander (1982). Bergman directed over sixty films and documentaries for cinematic release and for television, most of which he also wrote. He also directed over 170 plays. From 1953, he forged a powerful creative partnership with his full-time cinematographer Sven Nykvist. Among his company of actors were Harriet and Bibi Andersson, Liv Ullmann, Gunnar Björnstrand, Erland Josephson, Ingrid Thulin and Max von Sydow. Most of his films were set in Sweden, and numerous films from Through a Glass Darkly (1961) onward were filmed on the island of Fårö. His work often deals with death, illness, faith, betrayal, bleakness and insanity. Philip French referred to Bergman as "one of the greatest artists of the 20th century [...] he found in literature and the performing arts a way of both recreating and questioning the human condition." Mick LaSalle argued, "Like Virginia Woolf and James Joyce in literature, Ingmar Bergman strove to capture and illuminate the mystery, ecstasy and fullness of life, by concentrating on individual consciousness and essential moments." more…

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Submitted on August 05, 2018

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