Romantic melodrama may be the basis of Port of Call’s romantic storyline, and yet in the authentic location shooting and miserable suffering of its suicidal protagonist, Ingmar Bergman imbues it with a discomforting grit inspired by Italy’s neorealist movement, setting in a bleak tone that sees old traumas surface and threaten the chance for new beginnings.
An air of fleeting transience hangs over A Ship Bound for India, embodied literally by the industrial ships sailing from one dock to the next, and formally weaved into the narrative as an extended, nostalgic flashback, revealing a confidence in Ingmar Bergman’s direction that probes the Oedipal dynamics between a sailor, his father, and his mistress.
Ingmar Bergman screenplays are rarely so blunt as the melodrama he delivers in It Always Rains on Our Love, and yet the touch of magical realism he injects into this fable of endless hardships is charming nonetheless, formally rounding out a heartfelt call for compassion towards society’s young outcasts.
