Greenes Please don't spend money on this.

Exoticalot People are voting emotionally.

Rio Hayward All of these films share one commonality, that being a kind of emotional center that humanizes a cast of monsters.

Curt Watching it is like watching the spectacle of a class clown at their best: you laugh at their jokes, instigate their defiance, and "ooooh" when they get in trouble.

woodford-2 I was lucky enough to catch this at Melbourne's wonderful Astor Cinema and was astonished to re-read the external review that panned it. This was the first pre ww2 Swedish movie I'd seen and I'd have to say that I'm yet to see any Hollywood films of its vintage that are any better. I thought that the principal cast, Gosta Ekman, Inga Tidblad (who yes does look strikingly like Kristen Scott Thomas), Ingrid Bergman, Eric "Bullen" Berglund, and Britt Hegman were terrific and the telling and pacing of the story was faultless. The poor matching of sets and trite dialogue that often marred films that were coming out of the UK and USA at the time was mercifully missing and the film was a delight. Yes its great to see Ingrid Bergman looking radiant (and at times more than a little like Gretta Garbo) but all the other components that make up this film aren't too shabby either. If you get the opportunity to see this film, I don't think you'll regret seizing it.

ackstasis In musical terms, an intermezzo is typically a short composition that fits between two main movements of a larger musical work. For professional violinist Holger Brandt (Gösta Ekman), his romance with Anita Hoffman (the irreplaceable Ingrid Bergman) is exactly that, a brief interlude from his wife and children. Though he may have convinced himself that his love for Anita will last forever, it is inevitable that the older man will eventually return to where his heart truly lies, with his grown son Åke (Hasse Ekman) and precocious daughter Ann-Marie (Britt Hagman). His temporary liaison with a younger woman, as shameful as it might seem, does represent something akin to true love, since it had the power to draw him from his family. However, Anita's selfless decision to leave finally persuades Holger to return home, to recognise that there is a more important love waiting for him in Sweden.Gustaf Molander's 'Intermezzo' is a film that seemingly has everything going for it: Åke Dahlqvist's cinematography is absolutely beautiful; the acting performances are natural and sincere; Ingrid Bergman is perhaps the greatest beauty ever to grace the silver screen. However, despite a relatively brief running time, the film moved so slowly that it was difficult to hold my attention. A story as simple as that of 'Intermezzo' did not require 90 minutes to unfold, and several scenes could easily have been trimmed without any detrimental effect on the overall quality of the film. Though she had starred in numerous Swedish films previously, it was 'Intermezzo' that proved Ingrid Bergman's breakthrough role, and its success led to her migration to Hollywood in 1939, where she revived her role for an American remake, 'Intermezzo: A Love Story (1939),' opposite Leslie Howard {a version that I am yet to see}.Aside from Bergman, who is lovely as always, Gösta Ekman {in one of his final roles} gives a solid performance as Professor Brandt, whose infatuation with new love has led him to neglect those who are most important to him. Though I had not initially recognised his name, Ekman is, of course, the actor whose performance I had enthusiastically commended in my review of F.W. Murnau's 'Faust - Eine deutsche Volkssage (1926).' Also noteworthy are Inga Tidblad as Holger's knowing wife, Margit, and a delightful Britt Hagman as young Ann-Marie Brandt. While I must admit that I found the film very slow-going, perhaps this sluggishness served a very important purpose. In one of the film's final scenes, concerning the incident outside the school, I suspect that what transpired could never have been as shocking or jarring as it was, if not for the long period of sedateness that had preceded it.

Edgar Soberon Torchia The original version of this Swedish melodrama by Gustaf Molander is short (the American remake is even shorter) and to the point. A famous and not very young violinist (Gösta Ekman) meets a pretty and fresh-as-a-daisy pianist (Ingrid Bergman), he believes he met his match and she falls for him or something he has. Although the final solution tries to make us believe that the violinist is a fervent family man who will return to the loving arms of his abandoned but addict-to-marriage wife (Inga Tidblad), we know better: even if Hollywood insists in pairing ageing male stars with girls who could be their great-granddaughters, the truth is that age does count. On the pianist's side, it is obvious that his fame and talent impressed her, but when she wins a "stipend" to study, she takes the right decision. Interestingly, Hans Ekman who plays Åke, the son (to his real-life father) turned into filmmaking and was Ingmar Bergman's rival for a while.

timmauk "Intermezzo"(1939) was Ingrid Bergman's first American film, but it wasn't the first film she made. She had made 6 Swedish films before this original version of "Intermezzo"(1936). This made her a star in her native country. The American remake would make her a star around the world.It's a unique story of a brilliant violinist, with a sweet loving family, who falls for his accompanist, and the pain it brings to all involved. I haven't seen the American version, but the original is great. The acting is just so natural, just like they were actually living these lives. It's strange to hear Ingrid speaking Swedish, but she laughs and looks like she always did. The best things about this movie is the beautiful soundtrack, the intelligent script, terrific acting, and that cute little girl who played the daughter(I forgot kids were like that). I lucked out finding this video at a lumber store(?), but what a find. If you get the chance to see the original, see it. It's that good!!