Ingmar Bergman looms so large in the cinema that we tend to forget he didn’t simply arrive a fully-formed artist, turning out ruminative, allegorical, emotionally intense masterpieces like The Seventh Seal (1957) and Wild Strawberries (1957) and The Magician (1958). Bergman found his first success on the stage; his first original screenplay, Torment, was produced in 1944 under the direction of Alf Sjöberg, a fellow stage veteran and a major influence. He directed his first feature, Crisis, in 1946. The man of the theater embraced cinema, but it took time to learn the expressive qualities of cinema storytelling, and moviemaking was his classroom.
With his tenth feature, Summer Interlude (1951), we can see the development of the mature Bergman, and with his twelfth, Summer with Monika (1953), his filmmaking sophistication catches up with his artistic ambition. Together they make a fine set showing the two sides of Bergman as a serious filmmaker: Interlude, steeped in metaphor and allegory and myth, and Monika, his first triumph in the psychological cinema of troubled souls and broken marriages.