Feature Film, 1948

Port of Call

In this drama about young love against the odds, a desperate reform school girl with a cruel mother meets a sailor who has just come ashore.

"Port of Call is Ingmar Bergman's best film to date –and one of the best films ever made in this country."
Nils Beyer in Morgontidningen

About the film

In February 1948, Olle Länsberg (b.1922), sold what Ingmar Bergman said was a 'manuscript an inch thick' with the title 'The Gold and the Walls' to SF. Bergman was asked to work on a screenplay together with Länsberg and to direct the subsequent film. According to Bergman, the best thing about the initial project was 'going about Gothenburg with Länsberg and looking at the place from the inside. It was true I'd been living there for years, but I detested the place.'


Sources of inspiration

Probably the most influential cinematic style of the period immediately following the Second World War was Italian neo-realism. Asked in Bergman on Bergman whether he had allowed this to influence him, he replied: "Influenced it? It's in the spirit of Rossellini throughougt." At the time, he claimed, he had nothing of his own to offer:

'Each time I went to the cinema I thought 'this is what I must do, this is how it's got to be'. I felt every camera angle was a reproach to my own. I was staggering about, quite lost, and clutching at anything I could do. It wasn't my fault. Things had just turned out that way, without me knowing how or why, and I couldn't do a thing about it. I had no independence at all. I was helpless. A technical half-wit.'

In the same interview it was suggested to Bergman that the characters in Port of Call have more awareness and are less romantically conceived than in his earlier films. Bergman responded: "I've Länsberg to thank for that. The only bit of Harbour City which I wrote – and which is bad anyway and clashes with the rest of the film – is the hero's experiences when he gets drunk with a whore. It's a really miserable piece of work, thoroughly stylized and semi-literally, utterly out of tune with the rest of the film."

Sources

  • The Ingmar Bergman Archives.
  • Stig Björkman, Torsten Manns and Jonas Sima, Bergman on Bergman (New York: Da Capo P., 1993).

Collaborators

  • Nine-Christine Jönsson
  • Bengt Eklund
  • Mimi Nelson
  • Berta Hall
  • Birgitta Valberg
  • Sif Ruud
  • Else-Merete Heiberg
  • Brita Billsten
  • Harry Ahlin
  • Nils Hallberg
  • Sven-Eric Gamble
  • Yngve Nordwall
  • Nils Dahlgren
  • Hans Strååt
  • Erik Hell
  • Torsten Lilliecrona
  • Hans Sundberg
  • Bengt Blomgren
  • Hanny Schedin
  • Helge Karlsson
  • Stig Olin
  • Erna Groth
  • Bill Houston
  • Herman Greid
  • Kate Elffors
  • Estrid Hesse
  • Brita Nordin
  • Vanja Rodefeldt
  • Sture Ericson
  • John W. Björling
  • Rune Andreasson
  • Inga-Lill Åhström
  • Stig Ossian Ericson
  • Siv Thulin
  • Kolbjörn Knudsen
  • Gunnar Nielsen
  • Georg Skarstedt
  • Carl Deurell
  • Edvard Danielsson
  • Nils Poppe
  • Åke Engfeldt
  • Nils Svenwall, Art Director
  • Bengt Järnmark, First Assistant Cameraman
  • Aaby Wedin, Boom Operator
  • Olle Länsberg, Screenplay not used
  • Gunnar Fischer, Director of Photography
  • Lars-Eric Kjellgren, Unit Manager
  • Gösta Ström, Unit Manager
  • Oscar Rosander, Film Editor
  • Sven Hansen, Production Mixer
  • Erland von Koch, Music Composer
  • Harald Molander, Production Manager / Production Coordinator
  • Ingegerd Ericsson, Script Supervisor
  • Louis Huch, Still Photographer
  • Ingmar Bergman, Screenplay