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Torment (1944 film)

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instead of school and because I hated having to be punctual, having to get up in the morning, do homework, sit still, having to carry maps, having break times, doing tests, taking oral examinations, or to put it plainly: I hated school as a principle, as a system and as an institution. And as such I have definitely not wanted to criticize my own school, but all schools. As far as I understand it, and as I clearly pointed out in that unfortunate interview, my school was neither better nor worse than other institutions with the same purpose. My revered headmaster also writes (somewhat harshly): 'A school cannot be adapted to suit bohemian dreamers, but to suit normally constituted, hard working people'. Where should the poor bohemians go? Should pupils be divided up: You're a bohemian, you're a hard-working person, you're a bohemian, etc. Would the bohemians be excused? There are teachers one never forgets. Men one liked and men one hated. My revered headmaster belonged and still belongs (in my case) to the former category. I also have the feeling that my dear headmaster has not yet seen the film. Perhaps we should go and watch it together!
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a taste for men and liquor, and Jan-Erik spends most of the night on her bedside. He becomes very involved with her, and his schoolwork suffers. Bertha also has an older man whom she fears, although she will not reveal his name. It transpires that he is Caligula, and he learns of his student's involvement. He makes life harder still for Jan-Erik, and forces Bertha to do his will by threatening to suspend Jan-Erik. But Caligula is too violent with Bertha, and one day, Jan-Erik arrives to find her dead. He finds Caligula hiding in a corner, and calls the police. With no proof, however, Caligula is soon released, and quickly arranges for the expulsion of Jan-Erik, who accuses Caligula of murder, and finally strikes him in front of the principal of the school. He then goes to stay in Bertha's apartment. The principal of the school comes to the apartment, and offers his assistance in helping Jan-Erik back on track. Caligula comes to the apartment after the principal has left, seeking some sort of forgiveness, but Jan-Erik rejects him and instead walks out into the day to a view that overlooks the whole city.
342: 716: 406:, the scared loser, is screaming on the staircase below. The new final scene shows Kjellin in the light of dawn, walking towards the awakening city. I was told to shoot these last exteriors, since Sjöberg was otherwise engaged. They were my first professionally filmed images. I was more excited that I can describe. The small film crew threatened to walk off the set and go home. I screamed and swore so loudly that people woke up and looked out of their windows. It was four o’clock in the morning. 456:
could tell, and not seeming to harbor any grudge, either against the school or its teachers. In all probability, the fact of the matter lies elsewhere. Our friend Ingmar was a problem child, lazy yet rather gifted, and the fact that such a person does not easily adapt to the daily routines of study is quite natural. A school cannot be adapted to suit
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Mr. Bergman's statement, that his entire time at school was hell, surprises me. I clearly recall that he, his brother and his father were all very satisfied with the school. After his final examinations, Ingmar Bergman came back to school to attend our Christmas party, bright and cheery as far as one
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school like his kingdom. He is exceptionally hard on the diligent Jan-Erik, one of his students. One night Jan-Erik is returning home and finds an intoxicated young woman crying on the street. He recognizes her as Bertha, the clerk in a tobacco store near the school, and he walks her home. Bertha has
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Let us start with the '12-year hell' (coarsely expressed, by the way. Not a word used by me, but by the person who interviewed me. I recall using a milder term, which is somewhat different). Indeed…I was a very lazy boy, and very scared because of my laziness, because I was involved with theatre
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stands in the window, waving good-bye. Everybody felt that this ending was too dark. I had to add an additional scene in the dead girl's apartment where the principal of the school has a heart-to-heart talk with Kjellin while
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published a letter by Henning Håkanson, principal of the private Palmgren High School where Ingmar Bergman had been a student. Håkanson was reacting to an interview with Bergman published in
358:(SF) as an "assistant director and screenwriter" on a one-year initial contract. Bergman, who suffered illness and was hospitalized during the winter of 1942–43, wrote the screenplay for 373:
Filming, on which Ingmar Bergman served as an assistant director, took place in two stages. The first stage, for interior scenes, took place from 21 February to 31 March 1944 at the
362:, for which SF acquired the rights in July 1943. The Latin teacher Caligula is partly based on the Latin teacher Sjögren (also played by Stig Järrel) in the 1942 film 385:
High School in downtown Stockholm. The second stage, covering the exterior scenes, comprised only ten days in late May of the same year. In his second autobiography,
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ends after all the students have passed their final exam, except for one, played by Alf Kjellin, who walks out through a backdoor into the rain.
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provoked intensive debate in the press about the conditions in the Swedish high schools. On a personal level, the pro-German newspaper
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in the United Kingdom, although later releases have used the US title. The film won the
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When the film was virtually done, I made my debut as a movie director. Originally,
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International du Film de Cannes : Service Administration - Award Archives.
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dreamers, but to suit normally constituted, hard working people.
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On 16 January 1943, Ingmar Bergman had been appointed by the
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The film's original orchestral score was written by
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New York: HarperCollins, 1998. 2813:Films with screenplays by Ingmar Bergman 340: 292:as "Caligula", teacher of Latin language 2780: 224:) is a 1944 Swedish film, directed by 2037: 929: 744: 1348:The Birds, the Bees and the Italians 723:Har inte herr Widgren läst på läxan! 634:, Stockholm : Norstedt, 1990. 13: 2063: 464:A few days later Bergman replied: 451:on the day the film was released: 14: 2839: 2586:The Making of Fanny and Alexander 733:The same scene (video) Real Media 688: 513:cinema.encyclopedie.films.bifi.fr 2412:From the Life of the Marionettes 1604:When Father Was Away on Business 1423:The Working Class Goes to Heaven 653:Lundin, Gunnar and Olsson, Jan, 492:Factbox: Films of Ingmar Bergman 282:as Jan-Erik Widgren (student at 2695:The Seduction of Ingmar Bergman 1845:The Wind That Shakes the Barley 957:Cannes Film Festival Palme d'Or 712:Swedish Film Institute Database 1463:Chronicle of the Years of Fire 1338:The Knack ...and How to Get It 731:, the sadistic Latin teacher. 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1110: 1109: 1104: 1100: 1099: 1094: 1090: 1089: 1084: 1080: 1079: 1074: 1070: 1069: 1064: 1060: 1059: 1054: 1050: 1049: 1044: 1040: 1039: 1034: 1030: 1029: 1024: 1020: 1019: 1014: 1010: 1009: 1004: 1000: 999: 994: 990: 989: 984: 979: 975: 974: 973:Union Pacific 969: 968: 966: 962: 958: 951: 946: 944: 939: 937: 932: 931: 928: 915: 914: 910: 907: 906: 902: 899: 898: 897:Last Pair Out 894: 891: 890: 886: 883: 882: 878: 875: 874: 870: 867: 866: 862: 859: 858: 857:Only a Mother 854: 851: 850: 846: 843: 842: 838: 835: 834: 830: 827: 826: 822: 819: 818: 814: 811: 810: 806: 803: 802: 798: 795: 794: 790: 787: 786: 785:The Strongest 782: 781: 778: 774: 766: 761: 759: 754: 752: 747: 746: 743: 739: 734: 730: 726: 724: 720: 717: 713: 709: 708: 704: 702: 698: 697: 693: 692: 683: 680: 678: 677:91-7222-231-X 674: 670: 666: 664: 663:91-504-0445-8 660: 656: 652: 649: 646: 643: 641: 640:91-1-893192-8 637: 633: 629: 626: 625: 624: 623: 613: 607: 600: 594: 579: 575: 569: 563: 562:0-7475-1670-7 559: 555: 549: 543: 539: 535: 529: 522: 520: 514: 510: 503: 496: 493: 488: 484: 481: 480: 470: 465: 461: 459: 452: 450: 446: 445: 440: 431: 429: 425: 424:Georges Auric 421: 417: 413: 407: 405: 400: 396: 390: 388: 384: 380: 376: 371: 369: 365: 361: 357: 343: 337:as The Doctor 336: 333: 330: 327: 324: 321: 318: 315: 312: 309: 306: 303: 300: 297: 294: 291: 288: 285: 281: 278: 277: 271: 268: 264: 260: 257: 247: 245: 241: 237: 236: 231: 227: 223: 222: 217: 213: 212: 202: 198: 194: 190: 186: 180: 166: 165: 163: 157: 153: 149: 145: 141: 133: 130: 127: 123: 120: 117: 113: 110: 107: 103: 100: 96: 92: 88: 84: 80: 76: 73: 69: 66: 63: 59: 56: 53: 49: 46: 43: 39: 32: 27: 22: 19: 2766:Linn Ullmann 2754:Anna Bergman 2748:Mats Bergman 2724:Erik Bergman 2705: 2693: 2686: 2679: 2675:Bergman Week 2655: 2647: 2641:The Venetian 2639: 2631: 2614:Karin's Face 2612: 2605: 2584: 2576: 2557: 2549: 2541: 2533: 2525: 2517: 2509: 2501: 2493: 2485: 2477: 2470: 2469: 2450: 2442: 2434: 2426: 2418: 2410: 2402: 2394: 2388:Face to Face 2386: 2378: 2370: 2362: 2354: 2346: 2338: 2330: 2322: 2314: 2306: 2298: 2292:Winter Light 2290: 2282: 2274: 2266: 2260:The Magician 2258: 2250: 2242: 2234: 2226: 2218: 2210: 2202: 2194: 2186: 2178: 2170: 2162: 2154: 2146: 2140:Port of Call 2138: 2130: 2122: 2114: 2106: 2081:Bibliography 2018: 2008: 1998: 1988: 1973: 1963: 1953: 1943: 1933: 1925:Winter Sleep 1923: 1913: 1903: 1893: 1883: 1873: 1863: 1853: 1843: 1833: 1823: 1813: 1803: 1793: 1786:2001–present 1772: 1762: 1752: 1742: 1732: 1722: 1712: 1704:Pulp Fiction 1702: 1692: 1682: 1672: 1662: 1652: 1642: 1632: 1622: 1612: 1602: 1594:Paris, Texas 1592: 1582: 1572: 1562: 1552: 1542: 1532: 1524:The Tin Drum 1522: 1512: 1502: 1492: 1482: 1461: 1451: 1441: 1433:The Hireling 1431: 1421: 1411: 1401: 1391: 1381: 1366: 1356: 1346: 1336: 1326: 1316: 1306: 1296: 1286: 1276: 1266: 1256: 1246: 1236: 1226: 1218:Gate of Hell 1216: 1206: 1196: 1186: 1176: 1166: 1151: 1136: 1126: 1116: 1106: 1096: 1086: 1077: 1076: 1066: 1056: 1046: 1038:Neecha Nagar 1036: 1026: 1016: 1006: 996: 986: 971: 911: 903: 895: 887: 879: 871: 863: 855: 847: 839: 832: 831: 823: 815: 807: 801:Blossom Time 799: 791: 783: 737: 728: 722: 705: 695: 668: 654: 631: 622:Bibliography 621: 620: 611: 606: 598: 593: 581:. 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Index


Alf Sjöberg
Ingmar Bergman
Victor Sjöström
Stig Järrel
Alf Kjellin
Mai Zetterling
Gösta Cederlund
Olof Winnerstrand
Hugo Björne
Stig Olin
Martin Bodin
Oscar Rosander
Hilding Rosenberg
Svensk Filmindustri
Swedish
Alf Sjöberg
Ingmar Bergman
Grand Prix
1946 Cannes Film Festival
sadistic
Latin
Caligula
Stockholm
Alf Kjellin
Stig Järrel
Mai Zetterling
Olof Winnerstrand
Gösta Cederlund
Stig Olin

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