Jan-Erik Widgren, near graduation at a Swedish secondary school, is at particular odds with his sadistic Latin teacher whom the students have nickname "Caligula" (in honor of the reputedly cruel and sexually perverse Roman emperor). Maybe not everyone has had a teacher who is as strict a disciplinarian as Caligula, but most likely they have had a teacher provoke an emotional reaction similar to Jan-Erik's. If the classroom scenes don't make you break out in a cold sweat, they are likely to give you nightmares. At fist I thought the classroom scenes were too long, but they are essential in establishing Caligula's personality and the relationship between him and Jan-Erik. The dark shadow that Caligula casts over the proceedings is tempered somewhat by the rather benevolent personality of the older Headmaster; one of the best scenes in the movie has the Headmaster giving Caligula a crushingly frank personality appraisal.Jan-Erik has more of the temperament of an artist than that of a Latin scholar and he has his hands full in trying to deal with Caligula, but he also gets involved with a woman of questionable moral character who complicates his life. Additionally he is in conflict with his upper-class parents who have expectations of him that he does not satisfy. He is a tormented man. But, as you would expect from a Bergman screenplay, serious emotional complexities ensue as the plot develops. You come to understand that everyone in the film is living with their own personal torment-- Jan-Erik, his parents, his woman friend, and the school's headmaster. In a final ironic touch we see that it is Caligula who is the most tormented of all, he understands that he is an ass but he cannot help himself.While Bergman did not direct this it would surprise no one if he had. The seeds of his future growth are clearly evident, not just in his screenplay, but in the filming. The high-contrast black-and-white is striking and the unusual camera angles add to the effect. Director Sjöberg has taken a page out of Fritz Lang's book.The music I found to be intrusive and overly manipulative in the style of many Hollywood movies of the 40s and 50s.

The new eclipse series by the Criterion Collection is great for bringing cinephiles everywhere the opportunity to see films like this. The film is not perfect nor does it entirely submerge the viewer, but for a real fan of cinema, or more particularly Bergman, you can ask for nothing more. The film reveals Bergman's roots, it has his signature dark, brooding characters and themes, desolate landscapes, if not, at times, his own imagistic stamp. The story, however, is maybe the engaging side of mediocrity. The film draws you into the downward spiral of the main characters (the central focus of the story) without making the world seem hopeless and desolate. But it doesn't reach the pre-poop-your-pants euphoria it seems to promise. It's almost there, but doesn't really ever clinch it. The spiral of these characters is hidden within the world of the film. The torment, is silent, removed, intricate. The film is not what I expected from the early Bergman collection, and is not perfect, but is well worth the rent, for it's politics of the body, insight into Bergman's work and a subtle story that shames American suspense's absurdity, it's over-the-top plot structures, and its star driven sales. It's real, dark, flawed yet engaging. Worth a viewing or two.

Considered as a legendary coming-of-age work for Swedish film-making, and I can clearly see why: Scripted by Ingmar Bergman, it's a psychologically intriguing drama of morals and authority abuse, with a thriller aura, that's effectively placed in a high school setting.Two of its story- and directorial strengths are: 1. Not turning into a standard young-lovers-on-the-run melodrama as I feared along the way. The two harassed youngsters indicate romance, indeed, but are mainly portrayed as identity strugglers on the brink of adulthood. 2. Painting a believably two-dimensional portrait of the tormentor - is he sick... or just plain evil? We also get a captivating look at school & teaching methodology. Great scene in the map room!! And by a 1944 standard, it holds a surprisingly fresh, naturally flowing dialog for my Swedish ears! Stark B&W photography that is reminiscent of Hitchcock, contributes to its emotional tension, as well. I think the old Master would have loved making this! 7 out of 10 from Ozjeppe.

I've rarely seen such a dark and intimidating and superb movie from the 40:ies. Usually nordic films from this decade are pretty lame and follow a certain narrow path of simplistic comedy. This movie is very dramatic, partly thanks to Bergmans fantastic script, and Alf Sjöberg captures the moods and the weight of every moment and every pause. Every stroke of silence adds up to the feeling that keeps the beholder on the edge of his seat. Excellent classic movie!!!The brilliance of Stig Järrel needs to be mentioned. He is so convincing in his performance that when you're leaving the movie-theater you might just see him coming around the corner with his wooden ruler...