Gycklarnas afton Page #3

Year:
1953
89 Views


Then you wouldn't visit your wife.

- I do love you.

- No, you don't.

All right, I don't!

I won't be here when you get back.

Where will you go?

I won't be here, anyway.

Don't blame me.

I won't be here!

- Can I help you?

- I'd like...

- Don't you recognise me?

- No, sir.

- Can I help you?

- Is your mum here?

- May I speak with her?

- She's making our dinner.

May I wait?

- Nice weather we're having.

- Are you my father?

Yes.

- How are you and Albert?

- He lost a tooth yesterday.

You help mother in the shop, eh?

That's a good boy.

I mean... Good boy.

- How old are you?

- Nine.

A young man. Join the circus.

No! Mum's coming now.

Hello, Agda.

I was in town

and thought I'd drop in.

- Hungry?

- Do I look it?

I didn't mean that.

Yes, please.

Come in, then.

Mind the shop.

- All I can offer you is pancakes.

- That'll be fine.

- Things are going well for you.

- I took over the other tobacco shop.

So we're the only ones in town

selling tobacco now. It's profitable.

- You've kept the old shop?

- Of course.

- Take off your coat if you're hot.

- I'm all right.

Take off your coat,

I'll sew on your button.

- What happened to all your shirts?

- That's my business.

- You could buy one, then.

- I'm broke!

Don't shout.

Leave, if you're going to quarrel.

- You can borrow from me.

- How dare you!

- Watch your mouth!

- My mouth?

Keep your nose out of my affairs.

I will not be patronised.

Why so sensitive?

Why shouldn't you borrow from me?

- You want to get even now, eh?

- Why should I?

Stop acting. You're terrible at it.

You mean because you left me?

Don't you understand that I'm grateful?

- What?

- I'm grateful that you left me.

I finally found peace,

and my life became my own.

No more of that dreadful circus

that I always loathed and feared.

All the shouting and swearing,

insecurity, misery, lice and illness.

No, I'm happy now. And grateful.

- Shall we go in the other room?

- Of course.

- You're damned capable, Agda.

- That's nice to hear.

We had good times, too,

before you inherited the shop.

I didn't like you training the boys.

I was always afraid.

Those were hard years.

- Why did you come?

- I was in love.

- But that passed?

- Need we speak of that?

- Maybe not.

- I was really in love with you.

But when you left me,

my love died almost overnight. Strange.

I didn't leave you.

You stayed here, I moved on again.

Why talk about it?

Unlike you, I'm always in a muddle.

- Are you in trouble financially?

- Need you ask?

- Cheers, Albert.

- Cheers, Agda.

Thanks for the meal.

It's always the same and so silent,

summer and winter.

Yes, it's a quiet street.

Year in, year out.

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Ingmar Bergman

Ernst Ingmar Bergman (Swedish pronunciation: [ˈɪŋmar ˈbærjman] ( listen); 14 July 1918 – 30 July 2007) was a Swedish director, writer, and producer who worked in film, television, theatre and radio. Considered to be among the most accomplished and influential filmmakers of all time, Bergman's renowned works include Smiles of a Summer Night (1955), The Seventh Seal (1957), Wild Strawberries (1957), The Silence (1963), Persona (1966), Cries and Whispers (1972), Scenes from a Marriage (1973), and Fanny and Alexander (1982). Bergman directed over sixty films and documentaries for cinematic release and for television, most of which he also wrote. He also directed over 170 plays. From 1953, he forged a powerful creative partnership with his full-time cinematographer Sven Nykvist. Among his company of actors were Harriet and Bibi Andersson, Liv Ullmann, Gunnar Björnstrand, Erland Josephson, Ingrid Thulin and Max von Sydow. Most of his films were set in Sweden, and numerous films from Through a Glass Darkly (1961) onward were filmed on the island of Fårö. His work often deals with death, illness, faith, betrayal, bleakness and insanity. Philip French referred to Bergman as "one of the greatest artists of the 20th century [...] he found in literature and the performing arts a way of both recreating and questioning the human condition." Mick LaSalle argued, "Like Virginia Woolf and James Joyce in literature, Ingmar Bergman strove to capture and illuminate the mystery, ecstasy and fullness of life, by concentrating on individual consciousness and essential moments." more…

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Submitted on August 05, 2018

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