Bergman writing on the genesis of the film in Images: My Life in Film:
‘In spite of all that happened, Lorens Marmstedt did not throw me out. With great diplomacy he pointed out that now would be the perfect time for at least one modest audience success. Otherwise my days as a movie director migth be numbered. A Ship Bound for India as well as It Rains on our Love had been made for Sweden’s Folkbiografer. Now Marmstedt suggested that I make a film for his own company, Terrafilm. It must be noted that Lorens was a passionate gambler, able to put his money on the same number a whole evening.
He had bought the movie rights to a novel by Dagmar Edqvist called Music In Darkness, which told the story of a blind musician. For the time being I would have to stuff my demons into an old sack. Here I was not going to have any use for them. I read the novel; I hated it and decided to tell Lorens how I felt. He declared the he had no intention of coming up with any other offer. Finally we agreed that we would go and see Dagmar Edqvist together. She turned out to be an adorable woman, funny, warm, and intelligent. Also very feminine and pretty. I caved in. She and I would write the screenplay together.’
Shooting the film – Bergman in Images:
‘My only memory of the filming is that I kept thinking: Make sure there are no tedious parts. Keep it entertaining. That was my only ambition. Music in Darkness (known in the United States as Night is My Future) became a respectable product in the style of director Gustaf Molander. It was generally well received and was a modest box-office success to boot.’
Music in Darkness was screened at the Venice Film Festival in 1948, where it was well received by audiences and critics alike. This was probably due in no small part to Mai Zetterling, then on the verge of her international breakthrough.
20 May 2012
“When I made that picture, I would have accepted an offer to film the telephone book. I was a flop from the beginning. Then a very clever producer came to me and said, ‘Ingmar, you are a flop. Here’s a very sentimental story that will appeal to the public. You need a box-office success now.’ I replied, ‘I will lick your ass if you like; only let me make a picture.’ So I made the picture, and I’m extremely grateful to him – he later let me make Prison. Every day he came to the studio and told me, ‘No. Reshoot. This is too difficult, incomprehensible. You are crazy! She must be beautiful! You must have more light on her hair! You must have some cats in the film! Perhaps you can find some little dog.’ The picture was a great success. He taught me – in a very tough way – much that saved me. I will be grateful to him till my dying day.” – Ingmar Bergman (1971)