One could argue that the trajectory of Ingmar Bergman’s career has been characterised by the deliberate defiance of expectation at pivotal moments – an impetus, perhaps, for continued creative renewal and a desire to circumvent categorisation. Upon receiving rapturous praise by Jean-Luc Godard (1974), for example, for the wild, free-flowing and improvisational-like qualities of Summer with Monika (1953), Bergman delivered something of a misanthropic sucker-punch with follow-up film:Sawdust and Tinsel (1953). Rejecting the youthful idealism of the former film, Sawdust and Tinsel is instead a more meticulous and ‘unflinching examination of . . .
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