I do say this with a heavy heart as I love and admire Ingmar Bergman and many of his films and thought I'd never see a film of his I didn't like. Until now. By all means it has its good points, the cinematography, settings and music are beautiful and the female cast(with three of Sweden's finest ever actresses) look splendid and really try their best. Unfortunately, Jarl Kulle does nothing to make his annoying character remotely likable. Cornelius isn't the only bad character here though, I didn't care for any of them and none are interesting, for a Bergman film that is unusual. Bergman I love as a director, but he too seems out of his depth with a lack of momentum. The writing seems forced and unfunny, while the story tries to do much but does so in a clumsy and stilted manner.

Overall, I really wanted to love All These Women considering the talent involved, but I found it a really disappointing miscalculation.

4/10 Bethany Cox

I have now watched two lesser pieces in a row ("A Lesson in Love" being the first),each of which is a comedy. The former had that fifties kind of feel to it with some cleverness and some unique banter. This is simply a mess. A music critic is writing a biographer of a famous cellist named Felix. As he researches this he becomes embroiled in the dalliances of the maestro. Like so many Amrican comedies of the sixties it is constant physical humor for it's own sake. The problem is that it is not very funny. There are beautiful women running around, each having a sexual connection to Felix. They all know each other and have even set up a schedule. I wonder if Bergman skipped some more valuable work to do this. Don't bother.

You can tell this is a comedy. It's not simply the jazzy version of "Yes, We Have No Bananas" they play at scene changes. It begins with a funeral, and that's a rule: comedies start with funerals, tragedies start with peasants dancing around singing "Oh, We are happy peasants!" -- preferably in Italian. It also looks like Ingmar Bergman was tired of being called a grim symbolic genius, so he included titles noting that various things are not symbolic.

My personal interpretation is that he had one movie left on his contract and was angry with the front office for some reason, so he decided to make a Jerry Lewis movie and in color to boot, because he was tired of dealing with the critics.

Anyway, after the half dozen or so Bergman leading ladies come up and say the same thing over the unseen corpse -- translated as "So like him and so unlike him" -- we drop back five days to witness Carl Bilquist show up as the home of the great cellist to write his stuffy biography and deal with his mistresses -- the Great Man never appears. I think Bergman was fooling everyone and wanted to get back to the theater for a while.