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americanateurovision · 5 years

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Highlights from Melodifestivalen: Week 2

Melodifestivalen continued this weekend, taking place in the city of Malmö. Hosts Sarah Dawn Finer and Marika Carlsson started the show off with a rap battle, which apparently is a thing in Sweden, contrary to popular belief.

Seven new songs were presented, and four moved onward in the competition.

Who Made it to the Final: Malou Prytz and Hanna Ferm & Liamoo

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15 year-old Malou Prytz came out of nowhere to take one of the top spots this week. And it was well-deserved. "I Do Me” is a real bop, and Malou couldn’t be cuter. She looked like a baby Zara Larsson at Saturday’s show, and her performance popped thanks to her earnestness. This will be one to look forward to at the Final next month.

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Swedish Idol 2016 winner Liamoo (a.k.a. Liam Cacatian Thomassen) teamed up with Idol 2017 runner-up Hanna Ferm for this highly-anticipated duet. You’ll remember Liamoo from last year’s MelFest; his song, “Last Breath,” came sixth in the final. This year’s attempt, “Hold You,” is even better. It’s essentially an old-fashioned love song, but in the hands of these young singers, it feels modern and fresh. It’s likely “Hold You” would do quite well at Eurovision.

Who Was Sent to Andra Chansen: Andreas Johnson and Vlad Reiser

These guys were sent to Andra Chansen.

Moving on.

Who was ROBBED: Margaret and Oscar Enestad

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Margaret (who’s actually from Poland) has had several break-out hits in Sweden over the last few years. She’s a pop princess who made her MelFest debut last year and finished seventh at the final. For her return, she came with “Tempo,” a fun little number with that characteristically-Margaret calypso sound. Maybe it was the green screen, maybe it was the dress, (it could just be because she’s not actually Swedish?) but viewers didn’t fall in love with this entry. She finished in fifth place, and won’t be moving on in the competition.

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In 2018, we saw Felix Sandman of beloved boyband FO&O go solo with a big boy song, and the move really worked for him– he came second in the contest and it launched a whole new career for him. This year, his former bandmates, Oscar Enestad and Omar Rudberg (Miss Omar will be performing next week), will try to repeat the same success by debuting their solo efforts.

For Oscar Enestad, this one had a lot riding on it. See, for several years now, 21-year old Oscar has been in a controversial relationship with a much older woman, Cecilia Dahlbom, age 50. And not shockingly, his parents had a difficult time accepting his new girlfriend. So he wrote “I Love It” for MelFest and gave us the best song of the night. The staging, the rose petals, black nails and a silken shirt– the DRAMA of young love! Unfortunately, Sweden wasn’t having any of it. The shock of the night was when this former boybander finished in last place. More people voted for 86-year old Jan Malmsjö than Oscar. The good news though, is that "I Love It” entered the Spotify charts at #16, the highest of any MelFest songs from this week. Also, word is that Oscar’s parents are finally okay with his relationship. Love wins!

Melodifestivalen continues next week in Leksand.

#eurovision #melodifestivalen #MelFest #esc2019 #malou prytz #hanna ferm #liamoo #liam cacatian thomassen #andreas johnson #vlad reiser #margaret #poland #Oscar Enestad #felix sandman #omar rudberg #fo&o #cecilia dahlbom #jan malmsjo

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phroyd · 5 years

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A Great Actress Leaves Us! - Phroyd

Bibi Andersson, the luminous Swedish actress who personified first purity and youth, then complexity and disillusionment, in 13 midcentury Ingmar Bergman films, died on Sunday in Stockholm. She was 83.

Her death was confirmed by the director Christina Olofson to several Swedish news outlets. Ms. Andersson had a stroke in 2009 and had been hospitalized in France.

Her emotionally complex role in “Persona” (1966), the film that made her acting reputation, was one of the great stereotype reversals in film history, a definite departure for the thirtyish Ms. Andersson, who had begun acting in her teens. Before that film, Bergman had given her roles “symbolizing simple, girlish things,” she told The New York Times in 1977. “I used to be called a ‘professional innocent.’”

Few moviegoers could disagree. In “The Seventh Seal” (1957), Ms. Andersson played a gentle, young medieval-era wife and mother who was part of a traveling acting troupe. Whenever she appeared onscreen — with her long “Alice in Wonderland” blond hair and beatific glow — the sun came out and birds sang.

In “Wild Strawberries” (1957), she was first seen as the protagonist’s turn-of-the-century sweetheart, sitting on the forest ground collecting berries in a tiny basket while wearing a fairy tale maiden’s striped and ruffled dress, her hair in a combination of braids and Victorian ringlets. But in the same film, she also played the brash, short-haired, tomboyish, contemporary teenage hitchhiker, smoking a pipe just because she knew she shouldn’t.

The haircut may have been a catalyst. When she did “Persona,” it was with a close-cropped pixie cut; she played a sensible nurse with reading glasses and a sunny exterior who reveals herself to be both talkative and troubled. The character’s personality then seems to merge with that of her patient (Liv Ullmann), an actress who has had a breakdown and refuses to speak. When the film opened in the United States in 1967, Bosley Crowther of The New York Times called it “a veritable poem of two feminine spirits exchanging their longings, repressions and mental woes.”

Most of Ms. Andersson’s acting honors, like most of her film and stage work, were European. In addition to winning four Guldbagge Awards, the Swedish equivalent of the Oscar, she was named best actress at the Cannes Film Festival in 1958 for “Nara Livet” (“Brink of Life”), sharing the award with three co-stars, and best actress at the Berlin Film Festival in 1963 for the title role in “Alskarinnan” (“The Mistress”). Paradoxically (and surprisingly, to many), neither was a Bergman film.

n the United States, she did win National Society of Film Critics awards twice: as best actress for “Persona” and as best supporting actress for “Scenes From a Marriage” (1974), in which she and Jan Malmsjo played the central couple’s unhappily married, viciously bickering dinner guests. But she never became a full-fledged American star.

Her earliest Hollywood effort, which preceded the American premiere of “Persona” by six months, was “Duel at Diablo” (1966), a forgettable western starring James Garner. Ms. Andersson was an American white man’s wife who had been abducted by Apaches and wanted to go back.

A decade or so later, she played the soft-spoken psychiatrist of a schizophrenic teenager (Kathleen Quinlan) in “I Never Promised You a Rose Garden” (1977) and Steve McQueen’s Norwegian wife in a drama that was an unusual choice for him, “An Enemy of the People” (1978), Henrik Ibsen via Arthur Miller.

She did films for the directors John Huston and Robert Altman. She was Richard Chamberlain’s mother (although Mr. Chamberlain was a year older) in the 1985 mini-series “Wallenberg: A Hero’s Story,” about the Swedish diplomat who saved thousands of Jews from the Nazis. And she made a glamorous cameo appearance as a helpful Stockholm socialite in flashback scenes of “Babette’s Feast” (1987).

Critics were kind. David Thomson, in “Biographical Dictionary of Film,” called her “the warmest, most free-spirited of Bergman’s women.” Bergman, who employed certain actresses in film after film, was notorious for his claustrophobic, almost fetishistic relationships to them during filming. The fact that he and a number of the women also had affairs seemed almost secondary.

When Ms. Andersson made her Broadway debut, in 1973, Clive Barnes of The New York Times praised her “absolutely unforced naturalness.” Derek Malcolm of The Guardian once pronounced a particular screen performance “superb, even by her exalted standards.”

Berit Elisabeth Andersson was born in Stockholm on Nov. 11, 1935, the younger of two daughters of Josef Andersson, a businessman, and the former Karin Mansson, a social worker.

In her teens, determined to become an actress, Berit began taking classes and appearing as an extra in Swedish films. She made her credited movie debut in “Dum-Bom” (1953), a comedy about a mayor whose twin brother is a clown. In 1954, she was accepted into the Royal Dramatic Theater’s prestigious acting school in Stockholm.

Her work with Bergman began earlier, however. She appeared in a commercial for Bris soap, which Bergman had agreed to do because of a 1951 national film-industry strike. Four years later, he cast her in “Smiles of a Summer Night”; her character name was Actress, and she had one scene.

Other Bergman-Andersson projects included “The Devil’s Eye” (1960) in which Satan sends Don Juan back to earth to seduce a young vicar’s daughter; “The Passion of Anna” (1969), in which Ms. Andersson plays a recent widow trying to hold herself together; and “The Touch” (1970), about a married woman having an affair with a neurotic American. The film, Bergman’s first in English, also starred Elliott Gould.

Ms. Andersson’s last films were “The Frost,” a 2009 drama about a couple grieving for their son, and “Arn: The Knight Templar” (2010), originally a mini-series, in which she played an evil mother superior.

She had a long and busy stage career in Sweden, starring in classic works by Molière, Chekhov and Shakespeare, and even appeared twice on Broadway. Both “Full Circle” (1973), a wartime drama, and “The Night of the Tribades” (1977), with her frequent film co-star Max von Sydow, had particularly short New York runs.

After Ms. Andersson’s romantic relationship with Bergman in the 1950s, she married Kjell Grede, a Swedish screenwriter and director, in 1960; they divorced in 1973. Her second husband, from 1979 until their divorce in 1981, was the politician and writer Per Ahlmark. She did not marry again until 2004.

Ms. Andersson was married three times. Her survivors include a daughter, Jenny Grede Dahlstrand, and a sister, Gerd Andersson, a former ballerina with the Royal Opera.

In 1977, looking back on her first two decades of movie acting, Ms. Andersson told American Film magazine that she felt “no connection with what I was doing” in her early screen appearances, even describing them as corny. But there was one exception.

“‘Persona,’ on the other hand, I’m still proud of,” she said. “Each time I see it, I know I accomplished what I set out to do as an actress, that I created a person.”

Phroyd

#bergman #ingmar #aanderson #bibi

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aioinstagram · 6 years

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Caroline af Ugglas Helen Sjöholm Friends arena Vår Bästa Tid Är Nu Robin Bengtsson Jan Malmsjö Vår Bästa Tid Är Nu is Trending on Saturday March 10 2018 https://www.aioinstagram.com/caroline-af-ugglas-helen-sjoholm-friends-arena-var-basta-tid-ar-nu-robin-bengtsson-jan-malmsjo-var-basta-tid-ar-nu-is-trending-on-saturday-march-10-2018/

Sveriges Television says: Caroline af Ugglas och Helen Sjöholm mellanakter i finalen Expressen says: Kören sjunger i Mello – vill visa stöd för flyktingar

Top 2 articles about Caroline af Ugglas:

Traditionsenligt tolkas förra årets vinnande bidrag i finalen av Melodifestivalen på Friends arena under lördagskvällen. Det är Caroline af Ugglas som kommer att göra en avskalad tolkning av Robin Bengtssons ”I cant go on” tillsammans med kören I år är det schlagerveteranen Caroline af Ugglas som tillsammans med kören Gränslösa röster – voices without borders som består av asylsökande, nyanlända och etablerade svenskar står för tolkningen. – Det är väldigt skönt att få gå direkt till final

Trending Images of Caroline af Ugglas on Instagram:

This Caroline af Ugglas’s photo Trending 1 on Instagram, Photo credit to Instagram

Description: JaFyFyFaaan!

OneOfAKind! #carolineafugglas #icantgoon #älskarhenne

#kvällenshöjdpunkt

This Caroline af Ugglas’s photo Trending 2 on Instagram, Photo credit to Instagram

Description: This is gonna be so much fun! #carolineafugglas #körföralla #dalhalla

This Caroline af Ugglas’s photo Trending 3 on Instagram, Photo credit to Instagram

Description: Ser så fram emot att få sjunga med en kör på ca 1400 personer i morgon i vackra Dalhalla, Rättvik!Välkomna! Biljetter: http://dalhalla.se/Evenemang/caroline-af-ugglas-med-gastartister/Looking forward to sing with 1400 people on stage at beautiful Dalhalla, Rättvik tomorrow! Tickets available at http://dalhalla.se/Evenemang/caroline-af-ugglas-med-gastartister/ #dalhalla #sommar #dalarna #carolineafugglas #körföralla

This Caroline af Ugglas’s photo Trending 4 on Instagram, Photo credit to Instagram

Description: Hello Dalhalla!!! 1400 people on stage tonight!!! I love my job

#körföralla #dalhalla #carolineafugglas #6juni #nationaldag

This Caroline af Ugglas’s photo Trending 5 on Instagram, Photo credit to Instagram

Description: You can see more pictures on my blog. Link in bio! Thank you to Caroline af Ugglas and everyone in the amazing choir for a wonderful concert yesterday! It was a great feeling singing with1400 people! #körföralla #dalhalla #carolineafugglas #sannanielsen #undo #emptyroom #6juni #nationaldagen

This Caroline af Ugglas’s photo Trending 6 on Instagram, Photo credit to Instagram

Description:

@carolineafugglas with the @rideagainstcancer pin

#pinkoctober #rideagainstcancer #carolineafugglas #breastcancerawareness #bröstcancer #bröstcancerfonden #getthegallop

This Caroline af Ugglas’s photo Trending 7 on Instagram, Photo credit to Instagram

Description: Underbara @carolineafugglas sjöng med publiken igår i sina nya fina röda ridstövlar

#amazonasueca #fhs2017 #carolineafugglas #ridstövlar

@haidewestring

This Caroline af Ugglas’s photo Trending 8 on Instagram, Photo credit to Instagram

Description: Konstnären Caroline af Ugglas har ofta clownnäsor i sina målningar, för att lyfta fram vårt dubbla inre. “Vi har alla en clownnäsor, men alla vet inte om det”, säger hon. #maloueftertio #malouvonsivers #carolineafugglas #konst #clown

This Caroline af Ugglas’s photo Trending 9 on Instagram, Photo credit to Instagram

Description: JaFyFyFaaan!

OneOfAKind! #carolineafugglas #icantgoon #älskarhenne

#kvällenshöjdpunkt

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