Watch Repair Guy

In my 20s, I bought a bunch of cheap but fun watches. While tidying up the other month, I came across the watch cache, and I thought it might be fun to start wearing them again.

The batteries had all expired decades ago, of course, and taking them all to the watchmaker sounded kinda silly, because changing the batteries would cost most than the watches themselves. Well. Almost.

And it turns out the batteries by themselves cost virtually nothing, so I bought all the required types and a watch repair set.

And a rum and coke.

Popping open the back cover of the watches is trivial if you have the right tool (seen to the left there): It’s a kinda blunt knife. And then you need a teensy screwdriver to push stuff around inside the watch to make the battery pop out.

If you have a watch with a screw-on back, you need the tool above. It’s pretty obvious if the watch is of that type, because the back has notches going around the circumference. It’s, however, not completely obvious to use this tool, so search Youtube for a how-to. It’s really easy when you understand the concept.

Look! Watches! Telling approximately the correct time! Now I don’t have to wear the same one more than twice a month!

There’s apparently four different battery types that cover the gamut of watch types.

So there you go: Swapping watch batteries is very easy. You just need a) batteries, and b) a watchmaker tool set (there’s a bunch of cheap ones out there), 4) rum and coke, and xvii) very good lighting.

BTXI 1951: Summer Interlude

Summer Interlude (Sommarlek). Ingmar Bergman. 1951. ⭐⭐⭐⭐⭐★.

Oh, right. This film was done before the horrible This Can’t Happen Here, but wasn’t released until a year after due to a strike and economic problems with the film studio.

They’re extremely different films: While This Can’t Happen Here is probably the worst film Bergman ever did (I’m hoping; he tried to have it banned from ever being shown again), Summer Interlude is probably considered Bergman’s first really successful film.

It’s cute and funny and really just kinda works. The characters are a bit confusing, though: “Why are these 30-year-olds acting so strangely?” Then you realise that the characters are supposed to be, like, 17 instead. (Well, in the middle part of the film.)

This post is part of the 87 Bergman Things series.

BTX 1950: This Can’t Happen Here

This Can’t Happen Here (Sånt händer inte här). Ingmar Bergman. 1950. ⭐★★★★★.

This is a movie that apparently has never gotten a DVD release? I had to source it from teh torrentz, and it looks like it has its origin in a VHS copy. Perhaps it was shown on TV at one point?

It’s a thriller based on a Norwegian novel, apparently made just because the producers had gotten a subsidy to create a film for an international audience (so it was filmed both in Swedish and English).

Bergman tried to have the production halted after a few days of shooting.

This is what Bergman said about it: “Few of my films do I feel ashamed of or detest for various reasons. This can’t happen here was the first one; I completed it accomained by violent inner opposition. The other is The Touch. Both mark the very bottom of me. My publishment did not fail to come from the outside as well. This can’t happen here opened in the fall of 1950 and was regarded as a fiasco.”

The critics didn’t know whether it was supposed to be a parody or not.

It’s bad. Some of the shots look rather good, but it’s just tedious.

This post is part of the 87 Bergman Things series.

BTIX 1950: To Joy

To Joy (Till glädje). Ingmar Bergman. 1950. ⭐⭐⭐⭐★★.

This is Bergman’s second writer/director credit, and it couldn’t be more different from his first one, Prison. As the title suggests, it’s basically a happy and nostalgic film, where the protagonist is an obvious and hapless stand-in for Bergman himself. It’s pretty funny. Bergman is pretty savage in his takedown of himself.

I like the long scenes from the orchestra rehearsals.

The critics were savage. “Bergman, according to Schein, gave his films “the necessary stamp of tendentious realism” courtesy of “violence towards women, talk of abortions, empty brandy bottles and the line ‘Bloody hell, I like you’ instead of ‘I love you’.”

And this: “Not forgetting the peculiar phenomenon that Bergman, in the country with fewer prostitutes per capita than any other in the world, manages to put a whore in every film.”

This post is part of the 87 Bergman Things series.

BTVIII 1949: Thirst

Thirst (Törst). Ingmar Bergman. 1949. ⭐⭐⭐⭐★★.

After the brilliant Prison completely bombed at the box office, Bergman is back to directing another movie written by somebody else. A bundle of actors from his previous film reappears here, though.

It’s a surprisingly vigorous and amusing film: Bergman isn’t sulking after the less than stellar reception of his last movie. It doesn’t shy much away from its origin as a short story collection, either.

Definitely the best Bergman-not-written-by-Bergman film so far.

This post is part of the 87 Bergman Things series.