Early Bergman, one can see shades of later.
Like most of Bergman's films this one centers around women, and it seems that Bergman enjoyed depicting women's suffering, which is especially precious in the lens of a male director.
See a little green, such as the camera and even sometimes very incongruous trans-axis, and so on, and the last "Love Happens in the Rain" even worse meaning, after all, this time the narrator we do not see the fourth wall is also firmly constructed.
There is a little bit of Imitation of Life.
Early Bergman, one can see shades of later.
Like most of Bergman's films this one centers around women, and it seems that Bergman enjoyed depicting women's suffering, which is especially precious in the lens of a male director.
See a little green, such as the camera and even sometimes very incongruous trans-axis, and so on, and the last "Love Happens in the Rain" even worse meaning, after all, this time the narrator we do not see the fourth wall is also firmly constructed.
There is a little bit of Imitation of Life.
Like most of Bergman's films this one centers around women, and it seems that Bergman enjoyed depicting women's suffering, which is especially precious in the lens of a male director.
See a little green, such as the camera and even sometimes very incongruous trans-axis, and so on, and the last "Love Happens in the Rain" even worse meaning, after all, this time the narrator we do not see the fourth wall is also firmly constructed.
There is a little bit of Imitation of Life.
Early Bergman, one can see shades of later.
Like most of Bergman's films this one centers around women, and it seems that Bergman enjoyed depicting women's suffering, which is especially precious in the lens of a male director.
See a little green, such as the camera and even sometimes very incongruous trans-axis, and so on, and the last "Love Happens in the Rain" even worse meaning, after all, this time the narrator we do not see the fourth wall is also firmly constructed.
There is a little bit of Imitation of Life.