Word: jarl
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Dates: during 1960-1969
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...captain of a coastal freighter, John (Jarl Kulle) has docked at a Swedish port to pick up a cargo of sand. With two long evenings to kill ashore, he watches his young crewman charging off in pursuit of pleasure and decides to try his own luck with a cafe waitress (Christina Schollin). The girl, Anita, mother of a child born out of wedlock, remembers him only as a drunken lout who was rude to her on another visit two years earlier. Warily she declines his first invitation, and he smugly vows he'll have her; on the second evening...
Bergman's primary target is the foppish critic (Jarl Kulle) who sniffs out the "personal details" of Felix's life, even appropriates one of his mistresses. He composes critical jargon so dense that he himself cannot penetrate it ("What the hell do I mean by that?"), writes atrocious music, and finally wheedles Felix into playing it. Once compromised, the cellist collapses, corporeally and artistically kaput...
Operating on an almost mythic basis, Bergman uses boatrides and water to represent fertility in its many aspects. In the first vignette, Rakel (Anita Bjork) makes love to Kaj (Jarl Kulle) in a boathouse after a swim; Marta (Maj-Britt Nilsson) and her Bohemian seducer Martin (Birger Malmsten) spend a good part of their Parisian romance rowing in the country; and, finally, the younger sister elopes with her boyfriend in a motorboat...
Abracadabra! The Evil One relieves Don Juan (Jarl Kulle) of his atrocious eternal torment, seduction without satisfaction, and restores him to life with infernal instructions: lance that sty. The Great Lover-whom Bergman wittily conceives as the typical hero of a hair-oil ad, the sort of won't-you-be-my-Valentino every schoolgirl at some point adores-arrives at the rendezvous to find his ladylove smeared with housepaint and dressed in blue jeans. He stares in dismay. What...