The Movie Review “Summer with Monika”

The film “Summer with Monika” (1953) by Ingmar Bergman critically remains quintessential in the depiction of erotic love among the youth. A young disenchanted town dweller named Harry (Lars Ekborg) gets subjected to thwarted ambitions concerning his lowly job and societal responsibility. Harry comes in contact with Monika (Harriet Andersson) who speedily receives his interest. They both get infuriated with a burning desire to stay collectively when Monika initiates trouble at home. Harry acquires his father’s boat canceling their ordinary city existence for a happy summer enjoyed on an island.
Monika influences Harry to sacrifice self-inhibition, which continues till the end of summer. The two later decide to initiate a home return. Monika’s subjection to pregnancy gets disclosed during such a time. Harry, being a devoted companion, reconsiders to engage Monika in family formation. Such a move becomes vital to Harry as it makes it possible for Monika and the child to have a tranquil form of living. Harry would later acquire a job and take part in lifelong learning to provide the required necessity to his family.

Concurrently, Monika gets joyless in accomplishing duties at her family’s home. The desire to engage in adventures and exciting activities engulfs her making her get subjected to aimless engagements. Harry personally becomes obliged to ensure provision gets secured to the child. It then becomes vivid that the summer engagement between the two lovebirds gives a reminder to a mirage of the need to focus and move on in life.

According to Monika’s irreducible minimums concerning her previous summer life encounters, tension emanates eventually. “Summer with Monika” thus results to bravery associated with such a period. Therefore, Monika can get viewed as an identification figure instead of being subjected to appearing as an erotic object.

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Works Cited

Grenier, Richard. ”Movies: Bergman Discovers Love.” Commentary 76.3 (1983): 64