Early Bergman, though at the same time highly developed: a troubled married couple ride a train to a destination of "Hell together is better than hell alone." Highly compact, at under ninety minutes; and highly complicated, with parallel action, flashbacks, a dream scene. Broodingly well photographed, too -- and don't miss (don't blink at) the emotional climax of the lesbian's scene, when her hair is rearranged into a subtle suggestion of devil's horns. Bergman softened his metaphorical view of lesbianism only a little by the time he made The Silence -- from evil to merely diseased. Eva Henning, Birgit Tengroth, Birgir Malmsten, Mimi Nelson. (1949) — Duncan Shepherd
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