“What one expects with growing impatience from this brilliant technician and director of actors,” says Bo Widerberg of Ingmar Bergman in his 1960 pamphlet Visions of Swedish Film (Visionen i svensk film), “is for him to move on as our Dala horse to the world.”
For the early part of his career, Ingmar Bergman became just that: Sweden’s cultural Dala horse. Indeed he was, alongside the Dala horse, one of Sweden’s only exports. 1946, the year he directed his first films, Crisis (Kris) and It Rains on Our Love (Det regnar . . .
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