THE BOOKSELLER WHO GAVE UP BATHING

Sweden, 1969, 99 minutes, Colour.
Allan Edwall, Margaretha Crook, Jarl Kulle.
Directed by Jarl Kulle.

The Bookseller Who Gave Up Bathing is an entertaining period piece from Sweden in the late 1960s. Veteran actor Alan Edwall, who appeared in some of Ingmar Bergman’s films, plays a bookseller in a country town in Sweden in the 19th century. A group of men go bathing every Sunday as a ritual. The bookseller is not interested in women – until Amelie arrives in the town. She is played by Margaretha Crook who also appeared in a number of Swedish films for eminent directors like Bergman. Also in the cast is the director Jarl Kulle who also adapted the book for the screen. Kulle appeared in Bergman’s Fanny and Alexander and had a significant role in Babette’s Feast.

The film is a detailed and often charming look at eccentric characters, the style of life in a more placid 19th century, a glimpse of Swedish humour.

1. The classic status of this Swedish film? Its quality, interest and impact?

2. How particularly Swedish was the film in plot, characterisation, atmosphere, issues? Its impact on Swedish audiences, non-Swedish audiences? How universal its themes and application?

3. The contribution of the colour photography, the rural city life? The world of 1900? The music and its atmosphere? The presentation of the town, the city, homes especially the bookseller’s? The summer sequences and the men bathing as a recurring picture?

4. The film was based on a social and humorous novel. Was this evident? How well was it translated to the screen?

5. The focus of the title on the bookseller, his story and the irony of the ending? How appropriate was the explanation for his giving up bathing? The irony?

6. The importance of the prologue and the bookseller's visit to the city with Kracow? The memories of the ideal girl? the search? Kracow's reaction and his mistake? The difference between idyll and reality? how did this theme pervade the film? Its application to the bookseller and his idealising of Amelie?

7. How well drawn was the portrait of Jacob? His way of life in the town, his character with its strengths and weaknesses, his work in the bookshop?

8. The bookshop as a symbol of his character and his way of life? The confirmed bachelor? His outings with his friends and their bathing and reading? The good humour and placid way of life?

9. The introduction to Amelie in this world? Her arrival at the station, her verve and vitality, her status as a widow, the stories about her past and her vital conversation and spreading of the stories? A strong and passionate woman?

10. How credible was the romance between Amelie and Jacob? The possibilities for a happy future? The transformation in him? The change in her? Their bonds with one another? How is this symbolised in her transforming of the house and all its furnishings?

11. How well did the film create the atmosphere of happiness and romance? The transition then to the revelation of the photos and the ugliness of the truth? Amelie’s brother and the dramatic revelation at the celebration?

12. How important was Jacob's attitude towards Amelie? His horror, forgiveness?

13. The contrast with Amelie's deterioration, her obscenity, drink, her appearance? The pathos and the sympathy of the filmmakers towards Amelie's plight? Did she deserve such punishment? Jacob's confusion in how to treat her? Even though he had forgiven her?

14. The pathos of her death and his reaction especially with the headstone? How did his memory of her change over the years? How was she transformed into a happy memory?

15. The curiosity value of his giving up bathing? The pathetic irony of his explanation of what had happened and the fact that Potiphar could not be read without a mirror? The irony of the name of Potiphar and its biblical overtones?

16. How much insight into human nature, truth about life? Its possibilities, the transitions and transformations in peoples' lives? The possibility of happiness and romance? The reality of pain, suffering and tragedy?