To Joy (1950)

☆ ☆ ☆ ½

To Joy (1950) – I. Bergman

Ingmar Bergman wrote and directed this tale of two violinists who fall in love, get married, and have children, all while working for grumbly (but lovable) conductor Sonderby (played by Victor Sjöström, the silent film director/mentor who later starred in Bergman’s Wild Strawberries).  Stig Eriksson (played by Stig Olin) is rather melancholic and pessimistic but still falls for sweet and gentle Marta Olsson (played by Maj-Britt Nilsson).  He doesn’t deserve her. However, she will not remain his forever: we learn at the very start of the film that Marta is unfortunately later killed in a tragic accident – and the movie swiftly returns seven years earlier, in flashback, to bring us up to this final fatal moment.  Erikkson is apparently a veiled version of Bergman himself, an unreliable and self-centered cad who expresses dismay when he finds out his wife is pregnant (arguing that it is wrong to bring children into this horrible world) and subsequently cheats on her with a sultry married neighbour.  Apparently, Bergman was going through a divorce at the time (he eventually had five wives) and this screenplay may reflect his guilt and shame.  Eventually, Marta leaves with the children.  However, absence makes the heart grow fonder and eventually the couple reconciles.  So, we see the ups and downs that are natural to any relationship – but it is hard to feel sympathy for Eriksson, at least until that final terrible moment when he learns of his wife’s death.  Later, the orchestra plays Beethoven’s Ninth – based on von Schiller’s “Ode to Joy” and we see Eriksson’s sadness.  Reading now the poem itself, which includes the words “Whoever has created/An abiding friendship, Or has won/A true and loving wife, All who can call at least one soul theirs, Join our song of praise;”.  The relevance is obvious and we see that Bergman is imploring us/himself to feel grateful for the love he has received (despite his many flaws).  Not a masterpiece but an unpredictable melodrama that contains Bergman’s obvious stamp of authorship.