--- title: "Smiles of a Summer Night" year: 1955 kind: "film" canonical: "https://film.one/film/smiles-of-a-summer-night" fi1m_id: "smiles-of-a-summer-night" imdb_id: "tt0048641" tmdb_id: 11700 wikidata_id: "Q837070" fi1m_score: 84 critics_score: 80 critics_reviews: 5 published: "2026-09-25T07:26:45.688408+00:00" updated: "2026-09-25T07:26:46.096431+00:00" region: "SG" licence: "© Fi1m Ltd. Written by AI under a human editor; checked against sources before publication. Quote with attribution and a link to the canonical URL." --- # Smiles of a Summer Night (1955) Directed by Ingmar Bergman · 1h 49m · Comedy, Romance ## Identity Smiles of a Summer Night - **Canonical:** https://film.one/film/smiles-of-a-summer-night - **Type:** Film - **Fi1m ID:** smiles-of-a-summer-night - **IMDb ID:** tt0048641 - **TMDB ID:** 11700 - **Wikidata ID:** Q837070 - **Same entity:** https://www.imdb.com/title/tt0048641/, https://www.themoviedb.org/movie/11700, https://www.wikidata.org/wiki/Q837070 **Fi1m score: 84** · Critics 80 (early) from 5 reviews *In a sentence:* A count, a countess and quite enough romantic foolishness to make good sense seem a little dull > Ingmar Bergman’s romantic comedy is warm, sharply acted and occasionally too elaborate for its own good. Eva Dahlbeck and Harriet Andersson are particular pleasures in an ensemble that makes room for affection as well as foolishness. ## Synopsis Fredrik Egerman (Gunnar Björnstrand), Anne Egerman (Ulla Jacobsson) and Desirée Armfeldt (Eva Dahlbeck) are among the participants in this ensemble comedy of romance. Count Carl Magnus Malcolm (Jarl Kulle) and Countess Charlotte Malcolm (Margit Carlqvist) join them, alongside Henrik Egerman (Björn Bjelfvenstam), Petra (Harriet Andersson) and Frid (Åke Fridell). Ingmar Bergman writes and directs a cast that also includes Naima Wifstrand as Desirée’s Mother, Jullan Kindahl as Beata and Gull Natorp as Malla. Love supplies the subject of their shared comedy. ## Review Ingmar Bergman’s *Smiles of a Summer Night* is a warm, funny romantic comedy with a weakness for making things more elaborate than they need to be. We recommend it, especially for the actors, who make clever dialogue sound like something people might actually enjoy saying. There is considerable polish here, but little pressure to admire everyone for being sophisticated. The film lets us enjoy their foolishness without requiring us to think ourselves superior. Eva Dahlbeck gives Desirée Armfeldt the composure this comedy needs. She can make a response seem considered without letting us catch her preparing it, and her assurance gives the other performances something to work against. Gunnar Björnstrand makes Fredrik Egerman’s dignity amusing while preserving enough of it for us to care about his discomfort. Together they establish how much can be done without pressing a joke, and how much fun there is in watching capable actors decline to hurry. Ulla Jacobsson brings an alertness to Anne Egerman that keeps the performance from becoming merely decorative. Margit Carlqvist gives Countess Charlotte Malcolm’s humour a welcome bite; we believe there is some knowledge behind the amusement. Jarl Kulle is broader as Count Carl Magnus Malcolm, but the extra emphasis belongs in this company. The performances differ enough in force and manner that the ensemble never settles into a procession of people demonstrating the same kind of cleverness. We laughed at Petra and Frid, then felt unexpectedly fond of them. Harriet Andersson and Åke Fridell make their exuberance so unembarrassed that the surrounding formality briefly seems unnecessary. These passages have a physical ease that the more polished exchanges cannot quite supply, and the film benefits from allowing both kinds of comedy their space. Andersson is particularly good at making pleasure seem uncomplicated, without making the person enjoying it seem simple. Gunnar Fischer’s photography rewards attention to faces, which matters when an actor’s response can carry so much of the humour. P.A. Lundgren’s ornate production design gives the company a suitably elaborate setting without reducing the performers to accessories. We enjoy the decorative richness, though the elegance occasionally begins to feel over-managed. The most appealing passages leave enough room for the actors to disturb all that composure, rather than merely maintain it. Oscar Rosander’s editing is generous to the performances; occasionally we would have preferred a firmer cut. Ingmar Bergman’s screenplay can linger over an exchange after its cleverness has become more noticeable than its humour. Erik Nordgren’s music helps sustain the lightness, though the actors are quite capable of supplying it themselves. At 109 minutes, this is hardly an endurance test, but a little less ceremony would improve the pacing. It is a modest reservation about a film whose company we mostly enjoy keeping. Romantic comedy becomes tiresome when everyone is required to be charming before we are allowed to care about them. Here the actors have room to be vain, foolish and entertainingly difficult, and the warmth survives those failings. That makes the affection persuasive without requiring the comedy to become solemn about it. Watch it with someone who enjoys a film taking its time over a good performance. *Fi1m score 84, published 25 September 2026.* ## Straight answers **Is Smiles of a Summer Night worth watching?** *Smiles of a Summer Night* is worth watching for its warm romantic comedy and sharply judged ensemble performances, and we score it 84 out of 100. We particularly enjoy Eva Dahlbeck’s assurance and Harriet Andersson’s unembarrassed exuberance, though the elaborate dialogue occasionally needs a firmer cut; it suits an evening when we are happy to let good actors take their time. **How long is Smiles of a Summer Night, and what is it rated?** *Smiles of a Summer Night* runs 1h 49m. It is a comedy and romance film. **Where can I watch Smiles of a Summer Night in Singapore?** *Smiles of a Summer Night* is not on any streaming or rental service in Singapore at the moment. It is available in 5 other countries; change your country at the top of the page to see where. Availability is checked daily. **How does Smiles of a Summer Night compare to The Rules of the Game?** *Smiles of a Summer Night* is the warmer choice beside [*The Rules of the Game*](https://film.one/film/the-rules-of-the-game), though both find comedy in polished manners that do little to simplify desire. We favour Bergman’s film for affectionate foolishness and relaxed enjoyment of the performances; Renoir’s offers more unsettling humour, rewarding concentration once its initially hard-to-distinguish characters become clearer. **What should I watch after Smiles of a Summer Night?** After *Smiles of a Summer Night*, try [*The Rules of the Game*](https://film.one/film/the-rules-of-the-game) (1939, Fi1m 91): Another ensemble whose polished manners do little to simplify desire. Then [*The Lady Eve*](https://film.one/film/the-lady-eve) (1941, Fi1m 90): For romantic deception played with precision, physical mischief and unexpected tenderness; and [*The Earrings of Madame de…*](https://film.one/film/the-earrings-of-madame-de) (1953, Fi1m 87): Elegant society discovers that romantic complications can become painfully serious. ### Reviews we read (5) - **Empire**, David Parkinson (85/100, inferred): Parkinson calls it an intricate, lyrical comedy worthy of ranking among Bergman's finest achievements. He praises its baroque designs, Gunnar Fischer's photography and assured ensemble playing. [Read](https://www.empireonline.com/movies/reviews/smiles-summer-night-review/) - **Slant Magazine**, Chris Cabin (4/5): The critic praises the film’s warmth, wit, and enduring vitality, calling it one of Bergman’s greatest works. He especially singles out the exuberant scenes between Petra and Frid for their playful delirium. [Read](https://www.slantmagazine.com/dvd/smiles-of-a-summer-night/) - **Time Out**, TM (75/100, inferred): The available description presents the film as enchanting. It highlights the film’s influence on later musical and cinematic works. [Read](https://www.timeout.com/movies/smiles-of-a-summer-night) - **Eye for Film**, Angus Wolfe Murray (85/100, inferred): The critic finds the film delightful, saying its appeal has endured over time. He especially praises the actresses, both for their performances and their screen presence. [Read](https://www.eyeforfilm.co.uk/review/smiles-of-a-summer-night-film-review-by-angus-wolfe-murray) - **Collider**, Jackson Jackson (75/100, inferred): The critic finds the film entertaining and an excellent showcase for Bergman’s range. They praise its performances and light direction, while highlighting how its style shifts between Hollywood-like polish and a distinctly European feel. [Read](https://collider.com/smiles-of-a-summer-night-criterion-blu-ray-review/) ## Details - **Director:** Ingmar Bergman - **Director:** Ingmar Bergman - **Screenplay:** Ingmar Bergman - **Cinematography:** Gunnar Fischer - **Editor:** Oscar Rosander - **Music:** Erik Nordgren - **Production design:** P.A. Lundgren - **Costume design:** Max Goldstein - **Producer:** Allan Ekelund - **Cast:** Gunnar Björnstrand as Fredrik Egerman; Ulla Jacobsson as Anne Egerman; Eva Dahlbeck as Desirée Armfeldt; Harriet Andersson as Petra; Margit Carlqvist as Countess Charlotte Malcolm; Jarl Kulle as Count Carl Magnus Malcolm; Åke Fridell as Frid; Björn Bjelfvenstam as Henrik Egerman - **Runtime:** 1h 49m - **First release (Sweden):** 26 December 1955 - **Genres:** Comedy, Romance - **Also in:** [BAFTA Best Film winners](https://film.one/collections/bafta-best-film.md) (Nominee, 1956) ## Where to watch in Singapore Not streaming, renting or buying in Singapore at the last check. Also available in: ES, FI, FR, GB, IT. Add `?region=XX` to this URL for another country. ## If you liked this - *The Rules of the Game* (1939), Fi1m 91: Another ensemble whose polished manners do little to simplify desire. — [Fi1m page](https://film.one/film/the-rules-of-the-game.md) - *The Lady Eve* (1941), Fi1m 90: For romantic deception played with precision, physical mischief and unexpected tenderness. — [Fi1m page](https://film.one/film/the-lady-eve.md) - *The Earrings of Madame de…* (1953), Fi1m 87: Elegant society discovers that romantic complications can become painfully serious. — [Fi1m page](https://film.one/film/the-earrings-of-madame-de.md) - *A Room with a View* (1985): For another affectionate comedy about desire inconveniencing people with excellent manners. - *Much Ado About Nothing* (1993), Fi1m 78: Sunlit romantic plotting, sharp tongues and a generous appetite for foolishness. — [Fi1m page](https://film.one/film/much-ado-about-nothing.md) --- © Fi1m Ltd. Written by AI under a human editor; checked against sources before publication. Quote with attribution and a link to the canonical URL. Canonical: https://film.one/film/smiles-of-a-summer-night