TILL GLADJE (TO JOY)

Sweden, 1950, 98 minutes, Black and white.
Maj- Britt Nilsson, Stig Olin, Birger Malmsten, Victor Sjostrom.
Directed by Ingmar Bergman.

To Joy is a 1950 film from Ingmar Bergman, one of his early works, before he became a world director in the mid-1950s and continued for the next four decades as one of the world’s greatest directors. His ability to write and direct characters is evident in this film, although it seems rather slighter than many of his later films (its focus on a disintegrating marriage, compared with scenes from a marriage in the 1970s and its sequel, thirty years later, in 2003).

The film features Maj- Britt Nilsson who appears in several of Bergman’s films as well as Victor Sjostrom, as the orchestra conductor, who had been actor and director (including in Hollywood) but was to achieve great fame as the central character in Bergman’s Wild Strawberries (1957).

Filmed in black and white, austere in visual style but lavish in its use of classical music, it takes its title from Beethoven’s Ninth Symphony, The Ode to Joy. There is a great deal of music in the film, as background, and for the audiences watching the rehearsals.

However, there is bitter-sweetness about the relationship and the marriage – perhaps more bitterness than sweetness.

1. The title, Beethoven, music? The explanation?

2. The work of Ingmar Bergman in the 1940s and early 50s, his themes, writing, cast? His outlook on life, on relationships, on sexuality, on marriage? The bitter-sweet tone? The bitterness?

3. The music, illustrating character, illustrating situations, the climax with Beethoven?

4. The structure of the film: the focus on Stig, the phone call and the bad news, the flashbacks, the cumulative effect of the memories – and the role of the conductor and his narrative for the flashbacks? (Credible or not given his place in the lives of Marta and Stig?)

5. Stig as a personality, his role in the orchestra, performance, self-centred, the encounters with Marta, their not immediately falling in love, their relationship, their decision to marry? The music, the scenes of meeting, love, the wedding, the increasing doubts? Stig and his wanting to be alone? Solo?

6. Marta, her character, her relationship with Stig? With other men? The pregnancy, the twins? Stig’s reaction? Her joy for the children? the father of the children?

7. The nature of infatuation, love, quarrelling? Realism in the presentation of the relationship, the affair? Marta, her reactions, disgust? The clash, leaving? The money for the trip? The role of forgiveness?

8. Marta, her background, her love for music, her skills, her affairs, the relationship with Marcel, blossoming, being hurt, forgiving?

9. The character of Marcel, his being in the background? With Stig, with Marta?

10. The orchestra, the rehearsals, the time spent watching rehearsals, audience exhilaration with the music? Performances?

11. The conductor, his character, age, experience with the orchestra? His help with Stig, with Marta? His advice? His narration?

12. Mikael, his wife, the significance of Mikael in the story of Stig and Marta?

13. Stig, his change, temperament?

14. The build-up, the music, death as the end? Bergman’s insights at this stage of his life and of his career?