Berit's been punished and reformed, by those so much better and informed, now she's open eyed, attempts suicide, just can't fit the ideal they want formed (girls just want to have fun).

Gosta won't go sailing anymore, seeks the sanctuary of being on the shore, he's met a nice lady, who's past's a bit shady, unsure if that's where he wants to moor (the lost soul who doesn't know what he wants).

You're not like us, so we're going to make you like us. The oppressive approaches to managing adolescents who don't subscribe to the images society demands and expects, magnificently performed and presented - makes you so happy you're alive today and not then.

While none of Ingmar Bergman's late-1940s films are among his best work, and more indicative of him still finding his footing, they are still very interesting and worth seeing. They didn't have quite the same amount of emotional depth, complexity and quality of production values and acting (those aspects were still very good, they were just even better later) of his work from the early-50s onwards. Yet they were still well made and intrigued, and with each film Bergman's style really grew.

'Port of Call' is nowhere near being one of Bergman's masterpieces and was produced in a very early period where he had not yet fully found his groove. Understandable though because it was only his fifth film as director. There are a lot of recommendable things about 'Port of Call' though and one can definitely see Bergman's style, visually and thematically, emerging. Actually think it is really quite impressive for such an early effort of his and is among one of his best late-40s films.

Sure, the story has a lot of melodrama, for my tastes a little over-heated and soapy on occasion (most of it was harrowing and poignant though), which gets in the way at times.

Occasionally, especially the middle, the pace could have been tighter.

Having said all of that, 'Port of Call' is very well made, with some beautifully framed and atmospheric photography done in almost semi-documentary style. Bergman's direction grew more confident with each film during this early period, and this is some of his most confident and more distinct directing from the period. It's hauntingly scored and thoughtfully scripted that shows a lot of maturity and surprising frankness. Of the uniformly strong acting, the powerful performance of Nine-Christine Jonsoon stands out.

Really admired how it dealt with heavy themes, some quite daring to depict on film back then and actually don't think it's tame today, and that it didn't trivialise any of them while portraying them sensitively. It is not easy exploring or depicting abortion in a hard-hitting way without risking controversy, but 'Port of Call' handles it well. The story may have melodramatic moments and is quite ordinary in terms of it not having an awful lot new, but it is also moving and suitably bleak. The characters feel real as do their situations.

Altogether, very well done early Bergman. 8/10

One can see the beginnings of some pretty wonderful cinematography in this early work by Ingmar Bergman. It is a slice of life story about two down-and-outers who have been dealt a bad hand. The young woman has a sparkle, despite growing from an abusive family situation. She is dominated by her mother. She has spent time in a reformatory because her life is intolerable and she turns to a man who kindly takes her in. Because of her age, the mother can do what she wants. The sailor is a man who has just arrived at this port of call. His first act upon coming ashore is to rescue the young woman, who has decided top end it all by jumping in the harbor. Their paths cross again and it develops into a tenuous relationship. His first act is to get her into bed, but over time he realizes that she is all he has. Bergman does a nice job of making these people real. She has all kinds of demons and he has trouble accepting her morose being. She has a right to feel the way she does and he really is an unfeeling cad. If one is willing, he can see the framing of scenes, the positions of actors, and some pretty interesting symbols. It is a claustrophobic film. Outdoor scenes are scenes of freedom, even the suicide attempt; and indoor the forces of the outside close in. See this as a foundation piece.