Feature Film, 1948

Music in Darkness

A talented musician blinded during his military service is gripped by increasing bitterness.

"My only memory of the filming is that I kept thinking: Make sure there are no tedious parts. Keep it entertaining. That was my only ambition."
Ingmar Bergman

About the film

Dagmar Edqvist's novel Musik i mörker (Music in Darkness) was published in 1946.

Bergman writing on the genesis of the film in Images: My Life in Film

In spite of all that happened, Lorens Marmstedt did not throw me out. With great diplomacy he pointed out that now would be the perfect time for at least one modest audience success. Otherwise my days as a movie director migth be numbered. A Ship Bound for India as well as It Rains on our Love had been made for Sweden's Folkbiografer. Now Marmstedt suggested that I make a film for his own company, Terrafilm. It must be noted that Lorens was a passionate gambler, able to put his money on the same number a whole evening.

He had bought the movie rights to a novel by Dagmar Edqvist called Music In Darkness, which told the story of a blind musician. For the time being I would have to stuff my demons into an old sack. Here I was not going to have any use for them. I read the novel; I hated it and decided to tell Lorens how I felt. He declared the he had no intention of coming up with any other offer. Finally we agreed that we would go and see Dagmar Edqvist together. She turned out to be an adorable woman, funny, warm, and intelligent. Also very feminine and pretty. I caved in. She and I would write the screenplay together.

Shooting the film

Bergman in Images

'My only memory of the filming is that I kept thinking: Make sure there are no tedious parts. Keep it entertaining. That was my only ambition. Music in Darkness (known in the United States as Night is My Future) became a respectable product in the style of director Gustaf Molander. It was generally well received and was a modest box-office success to boot.'

Epilogue

Music in Darkness was screened at the Venice Film Festival in 1948, where it was well received by audiences and critics alike. This was probably due in no small part to Mai Zetterling, then on the verge of her international breakthrough.

Sources

  • The Ingmar Bergman Archives.
  • Ingmar Bergman, Images: My Life in Film.
  • Ingmar Bergman, The Magic Lantern.

Collaborators

  • Mai Zetterling
  • Birger Malmsten
  • Olof Winnerstrand
  • Naima Wifstrand
  • Birgit Lindkvist
  • Hilda Borgström
  • Douglas Håge
  • Gunnar Björnstrand
  • Bengt Eklund
  • Åke Claesson
  • John Elfström
  • Rune Andreasson
  • Bengt Logardt
  • Marianne Gyllenhammar
  • Sven Lindberg
  • Barbro Flodquist
  • Segol Mann
  • Ulla Andreasson
  • Svea Holst
  • Georg Skarstedt
  • Reinhold Svensson
  • Mona Geijer-Falkner
  • Arne Lindblad
  • Stig Johanson
  • Britta Brunius
  • Erik Forslund
  • Otto Adelby
  • Ida Otterström
  • Ulf Johanson
  • Ingmar Bergman
  • P.A. Lundgren, Art Director
  • Bengt Westfelt, First Assistant Cameraman
  • Göran Strindberg, Director of Photography
  • Gösta Petersson, Unit Manager
  • Lennart Wallén, Film Editor
  • Olle Jakobsson, Production Mixer
  • Dagmar Edqvist, Screenplay
  • Erland von Koch, Music Composer
  • Lorens Marmstedt, Producer
  • Allan Ekelund, Production Manager / Production Coordinator
  • Sven Björling, Property Master
  • Ulla Kihlberg, Script Supervisor
  • Inga Lindeström, Make-up Supervisor