Inga Landgré

Stig Olin

Marianne Löfgren

Dagny Lind

Allan Bohlin

Ernst Eklund

Signe Wirff

Svea Holst

Arne Lindblad

Julia Cæsar

Margit Andelius

Mona Geijer-Falkner

Wiktor Andersson

John Melin

Siv Thulin

Hariette Garellick

Singoalla Lundbäck

Anna-Lisa Baude

Hortensia Hedström

Maud Hyttenberg

Manetta Ryberg

Karl Erik Flens

Sture Ericson

Carin Cederström

Dagmar Olsson

Gus Dahlström

Holger Höglund

Ulf Johansson

Monica Schildt

John W. Björling

Per Hugo Jacobsson

Nils Hultgren

Erik Liebel

Hjördis Gille

Rune Ottoson

Britta Billsten

Gudrun Stäck

Ullastina Rettig

Gustaf Hedström

Otto Adelby

Hanna Adelby

Oscar Heurlin

Gösta Qvist

Erik Forslund

Ingmar Bergman

Lars-Eric Kjellgren

Erland von Koch

Leck Fischer

Oscar Rosander

Arne Åkermark

Harald Molander

Gösta Roosling

Lennart Svensson

Victor Sjöström

Drama

Romance

Kris

SF Studios

Sweden

svenska

Crisis

CinemaSerf

His debut, I know, but I actually found this to one of the more accessible Ingmar Bergman films - maybe that's why it isn't actually that great. It follows the young "Nelly" (Inga Landgré) living with her kindly foster mother "Mutti/Ingeborg" (Dagny Lind) who teaches piano in their small town. This peaceful existence is suddenly turned on it's head, though, when her real mother "Jenny" (Marianne Löfgren) shows up intent on reconciling with her long estranged offspring. She doesn't show up alone - her rather lively and mischievous friend "Jack" (Stig Olin) comes along too, and at a charity ball he and "Nelly" cause a bit of a stir that causes consternation for her friend "Ulf" (Allan Bohlin), gets someone a wetting and causes tongues to wag to such an extent that poor old "Nelly" has to relocate to the city. Things there aren't a bed of roses there either, and pretty soon the young woman must make some difficult choices. This is a solid ensemble effort with decent efforts from all concerned as the rather unlikeable group of characters have to deal with their self-induced and conflicted predicaments. There is a bit of chemistry between Olin and Landgré that at times raises a smile and/or makes you cringe, but for the most part the narrative is a bit wooly - too many people cluttering up a story that somehow lacks focus. Still, I did understand it which is more than I can say for many of this director's later, more impenetrable, works.

Crisis

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