Prison (), also known as The Devil's Wanton in the United States, is a 1949 Swedish drama film directed by Ingmar Bergman. It is the earliest film directed by Bergman to be based on his own original screenplay.
Plot Other than film-maker Martin Grandé, the characters are types: Thomas, a writer; his wife Sofi, who leaves him after he proposes a suicide pact; Birgitta Carolina Søderberg, a teenage prostitute; and Peter, her pimp by whom she has a child that he kills. The film presents Thomas living the scenario that Grandé and he discussed, a world that is really Hell and ruled by the Devil instead of God. He and Birgitta are unable to escape their unhappiness together.James Travers, "Prison (1949), directed by Ingmar Bergman", French Films.org, retrieved 18 June 2022.
Cast Doris Svedlund – Birgitta Carolina Søderberg Birger Malmsten – Thomas Eva Henning – Sofi Hasse Ekman – Martin Grandé Stig Olin – Peter Irma Christenson – Linnéa Anders Henrikson – Paul Marianne Löfgren – Mrs. Bohlin – Anna Curt Masreliez – Alf Britta Holmberg – Birgitta's Mother in Dream (voice)
Production Producer Lorens Marmstedt agreed to finance the filming of Bergman's experimental screenplay, which the director said was in large part exploring the question, "Is earth Hell?"Jerry Vermilye, Ingmar Bergman: His Life and Films, Jefferson: North Carolina: McFarland, 2002, repr. 2007, , p. 13. Filming, on a very low budget of approximately $30,000, took place over only 18 days,Frank Gado, The Passion of Ingmar Bergman, Durham, North Carolina: Duke University Press, 1986, repr. 1996, , pp. 43–44. using an Expressionist style of cinematography; characterisation is minimal and the acting flat, in keeping with the emphasis on existential symbolism. At one point, in further distancing, Thomas and Birgitta watch a ridiculous silent film together.
Reception
Stanley Kauffmann of The New Republic wrote- 'The picture is a bit tedious, except for the character of the pimp played by Stig Olin, but it is smoothly made and shows both fluency with the medium and an understanding of actors. It also forecasts the power of introspection that Bergman later developed so beautifully.'
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