Movies

Comments (3)

• frak 07/15/2008 11:42:55 AM

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• Wombat King 06/28/2008 4:32:26 PM

  PS. Hoberman's article is more a promotion of Godard and Rosenbaum than a critique of Bergman's film. Bergman is merely used as a pretext to namedrop his pals and heroes. Since when did film community turn into a oh-so-chummy family business with brotherly and uncle-sy pals massaging eachother's egos?

• Wombat King 06/28/2008 4:32:25 PM

  What kind of review is this? Instead regarding Bergman within his own context--and on his own merit--, we are to regard him in accordance to Godard's remark or in relation to American pop icons like James Dean. Godard, though brilliant, was rather eccentric--to put in mildly--on all things cinematic; his later views were downright crazy. And considering Bergman's Monika in relation to teen-angst pop heroes of the 50s is to miss the point. The truth is guys like James Dean were symbols, icons, movie stars, etc. Though their films dealt with some aspect of social reality, all said and done, they were pure Hollywood--as with Graduate and Risky Business later. Monika is a great film because of its simplicity and honesty. Is it a bit clumsy? Maybe, but does it matter? It's like complaining that Open City or Paisan are a bit rough around the edges. Most Hollywood movies about youths--even when made by fine filmmakers--tend to pander to youth biases and passions. Monika simply presents youthful hope, delusions, and disillusionment for what they are. Bergman captured the hope and energy, naivete and pettiness. When he made it Bergman was still young enough to connect with young people and old enough to have a mature perspective. It's a key film because many of Bergman's films deal with generational conflicts between young and old--Wild Strawberries, Autumn Sonata, Sunday's Children. Many of them were informed by his own bitter relationship with his father. As he grew older, his loathing of his father was tempered with empathy if not sympathy. Summer with Monika is the movie at the very center of his career, one that divides his lively 'clumsy' works and the polished, finely crafted Art Films. Why this film has to be explained in the context of what Godard said or what Nicolas Ray was doing in America merely betrays Hoberman's feelings about Bergman. One doesn't have to like Bergman, but one should at least be forthright in dissing him. Also, it's a bad habit to treat great film art in relation to lowly or campy pop culture. Hoberman once downgraded Seven Samurai because it reminded him of some martian mongo movie. The peasants and samurai may indeed remind Hoberman of some mongo Martian flick BUT they were entirely drawn from the reality of peasant life in late 16th century Japan. Now, suppose someone downgrades Shoah because it reminds him of a set in a Chuck Norris movie. Reviewing trashy camp movies is all about context, BUT great films need to be regarded for THEY are, not in context of whatever junk they resemble or what some smart alecky filmmaker may have spouted about it.