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“Admittedly, of all modern directors he alone has not openly rejected those devices beloved of avant-gardists of the thirties: superimpositions à la Delluc, reflections in the water à la Kirsanoff, back-lighting à la Epstein, that whole bric-à-brac of effects which one now finds only in the films of Gréville and Robert Hossein, or in amateur film festivals. But the use today of such outmoded tricks is audacity on Bergman's part. As used by the director of Summer With Monika, those mannered compositions, tho
