Bergman is believable enough as a young woman getting out of her depth. She had already appeared in a Swedish version of the same film in 1936, and she appears entirely comfortable reprising the role. Leslie Howard, however, completely fails to convey the passion or confusion he is supposed to be experiencing. There’s a lack of nuance throughout and this prevents you engaging with the characters. Indeed, the family dog is given more personality than the violinist’s wife Margit (Edna Best).
Everything is resolved far too easily, suggesting that the emotional stakes were never very high. Even the one moment of true drama – a car accident – is quickly dealt with and made as unremarkable as all the other events.
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