By Albert Camus
'Sur le pont, je passai derrière une forme penchée sur le parapet, et qui semblait regarder le fleuve. De plus près, je distinguai une mince jeune femme, habillée de noir. Entre les cheveux sombres et le col du manteau, on voyait seulement une nuque, fraîche et mouillée, à laquelle je fus brilliant. Mais je poursuivis ma path, après une hésitation. [...] J'avais déjà parcouru une cinquantaine de mètres à peu près, lorsque j'entendis le bruit, qui, malgré l. a. distance, me parut bold dans le silence nocturne, d'un corps qui s'abat sur l'eau. Je m'arrêtai internet, mais sans me retourner. Presque aussitôt, j'entendis un cri, plusieurs fois répété, qui descendait lui aussi le fleuve, puis s'éteignit brusquement.'
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Extra info for La Chute
Perhaps most obviously, it can act as a reflexive device, foregrounding the act of looking and male voyeurism, making clear links between Harry’s gaze at the mirror surface and the spectator watching the film. But there are also intriguing similarities between this short sequence and other moments in the film. For instance, this is the same mirror that Monika looks in near the beginning of the film to tidy her hair before work, with the same non-diegetic music playing. In addition, the background fades to black, framing the mask-like face, refers back to the café sequence shortly before this where the same device is 32 The Films of Ingmar Bergman used when Monika stares straight at the camera.
Monika’s motivations for escape are crucial. The film significantly highlights Monika’s working-class roots, suggesting that her escape is more vital than Harry’s is, but less goal orientated. Her defiance is more active – she actively leaves her job, she actively leaves home – and more desperate, since the alternative seems to be either financial dependence on a man (with a suggestion of prostitution) or poverty and a repetition of her mother’s role. A closer look at the narrative devices that form the foundation for Bergman’s 1940s and early 1950s films will help to highlight striking similarities and differences in Summer with Monika.
Summer Interlude can be seen as a model film, working with certain formulations that are extended, challenged or disputed in later Bergman films. The relationship between the theatrical and psychological mask ‘works’ in Summer Interlude via an intricately structured system of motifs that continues into later Bergman films, such as The Seventh Seal (1956), The Face (1958) and The Rite (1967). However, Summer Interlude’s binary The Mask and Identity: Summer Interlude’s Legacy 29 oppositions, of false mask against true identity, contrast with the very different mind-set seeping into other Bergman films, where notions of ‘truth’ (and ‘reality’) are less fixed, for example, in Fanny and Alexander (1981/2) which can be analysed in light of postmodernist concepts of multiplicity and masquerade.