Evengyny Thanks for the memories!

Huievest Instead, you get a movie that's enjoyable enough, but leaves you feeling like it could have been much, much more.

Invaderbank The film creates a perfect balance between action and depth of basic needs, in the midst of an infertile atmosphere.

Robert Joyner The plot isn't so bad, but the pace of storytelling is too slow which makes people bored. Certain moments are so obvious and unnecessary for the main plot. I would've fast-forwarded those moments if it was an online streaming. The ending looks like implying a sequel, not sure if this movie will get one

Richard Chatten Set in Gothenberg, 'Hamnstad' was Bergman's fifth feature film, his first with cameraman Gunnar Fischer, and concludes his early "neo-realist" phase - there's still plenty of documentary footage of blue collar working life and its all rather more sordid than his later films, including a harrowing section involving an abortion - but much more sparing use is made of Erland von Koch's than hitherto in anticipation of the more laid-back approach he was soon to adopt.

Hitchcoc One can see the beginnings of some pretty wonderful cinematography in this early work by Ingmar Bergman. It is a slice of life story about two down-and-outers who have been dealt a bad hand. The young woman has a sparkle, despite growing from an abusive family situation. She is dominated by her mother. She has spent time in a reformatory because her life is intolerable and she turns to a man who kindly takes her in. Because of her age, the mother can do what she wants. The sailor is a man who has just arrived at this port of call. His first act upon coming ashore is to rescue the young woman, who has decided top end it all by jumping in the harbor. Their paths cross again and it develops into a tenuous relationship. His first act is to get her into bed, but over time he realizes that she is all he has. Bergman does a nice job of making these people real. She has all kinds of demons and he has trouble accepting her morose being. She has a right to feel the way she does and he really is an unfeeling cad. If one is willing, he can see the framing of scenes, the positions of actors, and some pretty interesting symbols. It is a claustrophobic film. Outdoor scenes are scenes of freedom, even the suicide attempt; and indoor the forces of the outside close in. See this as a foundation piece.

MartinHafer While it is true that Swedish films were far more permissive in the 1940s, how frank this film is might surprise you--especially as it's quite a bit more so than director Bergman's later films.The film begins with Gösta returning from several years at sea. He's tired of the life and settles into the life of a dockworker. Very soon after, he meets a young lady (Berit) at a dance hall and they sleep together that same night. Berit worries that it's just a one night stand but Gösta does return later. However, Berit also worries that he won't stick around when he learns her past--she's been to reform school and is a mess. When she finally tells him, he doesn't know what to do. To make it worse, soon she brings a dying friend to his apartment--and she's sure there's no way he'll stick around now. Is there any hope for this couple? Aside from premarital sex, the film also deals with family dysfunction and a botched illegal abortion--all in a very non-judgmental manner. I am pretty sure it caused a bit of a stir in its day. I admired it because in just about every way the film tried very hard to deal with reality and avoid clichés. And, to avoid clichés, the film ends with many, many questions unanswered--just like in real life. It was all handled so well that I can't help but admire the film and feel it's actually a lot better than much of Ingmar Bergman's later more celebrated work, as it's simpler and less focused on depression (like many of his 1960s-70s films). Well worth seeing.

sol- An early film from Ingmar Bergman, it is just as interesting on a visual scope as his films usually are, with the docklands filmed well and good use of panning and dolly work throughout. In terms of story and acting though, this is rather ordinary stuff, despite some interesting ideas and philosophies about freedom. It seems the easy way to out to just classify this film as interesting but not up to the standard that Bergman would later set, however I cannot think of much else to say here. It certainly is not as thought-provoking and intense as some of his later films, and for those not interested in Bergman or clever camera movement, I could easily imagine this piece coming across as boring.