Sommarlek Page #4

Year:
1951
98 Views


A cannibal I know

says it's delicious.

How scary!

- What was that?

- Don't you recognise the eagle owl?

- It's horrible!

- Did it frighten you?

Oh, I just feel like crying tonight.

It's like toothache in the soul.

The soul's in the stomach

- that's where it hurts.

Too many green apples, that's all.

Hold me, Henrik.

Hold me, so I don't break.

Henrik, my little darling.

My love.

My dearest darling,

my beloved friend.

Hold me tight.

Tighter!

Let's stay awake all night.

Until the sun rises

and the trolls combust.

Henrik...

Can you feel how cold I am?

How I shiver?

How my heart pounds?

Don't be such a baby.

You're always biting me.

You just wait!

- We can't stay out here.

- Carry me.

- I can't walk, I'm too tired.

- That's it, then.

Please, carry me.

You're mad, fatty!

- You're a poor lover.

- Marry Superman!

No, he's got such awkward clothes.

Are you sad?

- Autumn is in the air.

- Yes.

On Thursday you'll go back

to the theatre, and I to university.

- When will we meet?

- We have three days left here.

Three days.

I'm not sad.

- Auntie has invited us to dinner.

- First a swim!

- No, I don't want to, it's too cold.

- Come on now!

I'll show you a fine jump!

My back...

Can you get me a bottle

for Thursday?

- I'll talk to my brother.

- Oh please, do try!

- From the beginning!

- You must, or I'll drown myself!

Promise me one thing,

you have to shoot Gruffman.

The poor thing

shouldn't have to live.

I'll see to it.

Poor thing.

Everyone is alive.

They run around in the streets.

And here am I, eating and drinking.

At the theatre we dance about

and frolic.

Henrik lies out there,

starting to rot.

A moment before

we were laughing about everything.

He lay in my arms.

I kissed his lips.

That's life.

Is there no meaning anywhere?

No, my girl. Nothing means anything

in the long run.

I don't believe God exists.

And if he does, I hate him.

And I'll never stop hating him.

If he stood before me,

I'd spit in his face.

I'll hate him for as long as I live.

I won't forget.

I'll hate him till the day I die.

There's only one thing one can do:

Protect oneself, build walls.

Protect oneself from

the touch of misery.

I'll help you.

I'll help wall you up.

I'll teach you, Marie.

That winter I worked hard,

without thinking.

In the spring, Uncle Erland

took me on a long journey.

In this way I forgot Henrik.

The wall grew around me.

In the end I wasn't just protected,

but locked up.

In this way I forgot Henrik.

I forgot Henrik.

I say, Miss Marie,

that hack was here again.

I tried to keep him here,

but he left.

Karl can tell you

that I followed him outside...

Yes, he did, I saw it.

So that didn't please her either.

Women! Who understands them?

Well, I never did.

Why put so much work

into these ballets?

They don't even show their legs,

or at least not enough.

Night rehearsals are a bugger.

And we've run out of beer.

That smell is still there.

Such a peculiar smell...

These shoes really are evil.

And tomorrow's opening night.

Go home and get to bed,

you silly girl.

- Come back with me for a drink.

- You go, I can't be bothered.

Don't then, sourpuss!

- This time tomorrow you'll be happy.

- What for?

- Because it'll be over then.

- Over!

- I don't like that tone of voice.

- Neither do I.

But without it, I'll start crying.

I am like a painted puppet

with strings.

If I cry, the paint will run.

Go now. Let me

mourn my youth in peace.

Bye!

Good evening, Marie!

Oh, it's you.

- Look at you...

- It's the make-up for Copplia.

- So are you dancing on Saturday?

- Yes.

My old star act. Gustavsson is ill.

It's late.

Empty theatres at night are strange.

Strange and a bit ghostly.

Dwarfs with humps and big heads

watch you from every corner.

- Yes...

- They've always been there.

They grow in numbers as the theatre

grows older. Their eyes are luminous.

Do you have any matches?

Kaj will have some.

Well, Marie...

You're laughing at me?

I came into the ballet hall

this morning.

It was big and empty.

There you were

in your black leotard,

bending and twisting

arms and legs.

Slowly, quietly,

you didn't notice me.

It was as if you'd been drawn

with five black lines.

And I thought...

...for 20 years

she's been standing like that,

morning, noon and night.

For 20 years.

Eight years left,

then she's finished.

Out... Bye-bye!

- What about yourself?

- I'm the ballet-master. I create.

I grow old and esteemed,

no burden to anyone.

You'll be pensioned off.

You sit there in your clown costume

and can't get it off.

What about your own costume?

It's true... it's as if it's glued

to one's body.

Do you really think

I don't understand?

You daren't remove your make-up,

and you daren't be made-up.

You daren't leave,

and you daren't stay.

Nonsense...

You only see your life

clearly once,

when all protective walls

have crumbled.

You stand there, naked and cold,

seeing yourself just the way you are.

Once only.

Not a very edifying sight, is it?

At that moment

you daren't either live or die.

- Has all this happened to you?

- No, not to me.

But to you, today, now.

- No.

- Yes... I can see it in your eyes.

You want to be happy,

get something out of life.

You want memories, don't you?

You want to start afresh.

All lies, Miss Marie.

Stuff and nonsense...

You dance, and that's that.

That's what you do.

Stick to that, Marie,

or you'll get into trouble.

Take a look in the mirror.

You look ridiculous.

So do I, for that matter.

Thanks for the chat.

I say, some chap has been

listening behind the door.

How did you get in?

Why did you run away this afternoon?

What a ghastly bow tie!

It looks like a clip-on.

Well, don't just stand there!

Sit down and behave

like a normal person.

What are you staring at?

Cat got your tongue?

Have you two met?

This is Copplius, the magician.

And that's David, quite simply.

The only person who's nice to me

in everyday life.

- Am I disturbing you?

- Perhaps I am?

- I can leave, right now.

- Why so soon?

- Your face looks funny.

- I gave her a few slaps...

- As long as he doesn't bite you.

- Are you jealous?

Of that character? Hardly!

Young man, I could transform you

into a sugar lump.

So beware!

Old man, I could spirit away

your talent, your secret,

your good name

and social standing.

I happen to be a journalist!

Great master, you are the mightiest.

- Your humble slave awaits orders.

- Get lost!

I'm leaving, slowly.

And I won't listen behind

the door, I have manners.

I see it's raining.

- Has it been raining long?

- Not at all.

It started at 9.15,

but will stop within the hour.

There's a risk of rain tomorrow,

but Saturday will be fine.

If it's like that,

you may as well go.

I'm not jealous!

I just don't get this job of yours.

Take that fool...

- He's no fool, he's a very nice man.

- He made you cry.

Do you think you never make me cry?

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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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