A special post today because the Hasse Ekman retrospective at MoMA is now over, and I am overwhelmed by the response it got. Sold-out screenings, lots of good articles about it (some links below), and an engaged and passionate audience. I had a lovely time in New York and I want to thank both MoMA (and Dave Kehr in particular) and all of those who came!
I would also like to get some feedback about the films. If anybody who reads this was at the MoMA screenings, or have seen the films some place else, you are more than welcome to write down your thoughts in the comment section below. I am thinking primarily of non-Swedes now, I have already had much engagement with Swedes about Ekman, but rarely with people from other countries because they would not have seen the films. But now some have, and others who were not at MoMA might have seen some films too, elsewhere, so bring it on.
Ekman was very prolific, and there are enough good films for another retrospective. The ten films shown at MoMA were not chosen because they are my ten favourite Ekman films; some of my favourites were not available. These are the ten films I think are the best:
Royal Rabble (Kungliga patrasket 1945), with Eva Henning
Wandering With the Moon (Vandring med månen 1945), with Eva Henning
While the Door Was Locked (Medan porten var stängd 1946)
The Banquet (Banketten 1948) with Eva Henning
The Girl From the Third Row (Flickan från tredje raden 1949), with Eva Henning
Girl With Hyacinths (Flicka och hyacinter 1950), with Eva Henning
The White Cat (Den vita katten 1950), with Eva Henning
We Three Débutantes (Vi tre debutera 1953)
Gabrielle (1954), with Eva Henning
The Heist (aka Rififi in Stockholm) (Stöten 1961)
Of the four not shown at MoMA, While the Door Was Locked is one of Ekman's multiple-character narratives, this time about the various people who live in one apartment block and what happens there during one night. The White Cat is like a Freudian nightmare, visually very striking (Göran Strindberg was the DP), with the usual Ekman actors and characters, although unusually conflicted and disturbed. We Three Débutantes is about three young poets, two men and one woman and each from a different class, who try (and fail) at being friends. It is also a suitably poetic depiction of Stockholm, shot by Gunnar Fischer. The Heist, finally, is about two young criminals, adrift, alone and very unhappy.
As you can see the bulk of his great work was in the first half of his career. But the second half is good too, only not as good. Of the 41 feature films he made I would say that more than half are really good, and even those that are unsuccessful are often interesting.
Here is my earlier post about the ten films that were shown at MoMA.
And here are links to some of the articles about Ekman:
Farran Smith Nehme for rogerebert.com
Kristin M. Jones for Wall Street Journal
Nick Pinkerton for Artforum