David Lindell (Birger Malmsten) and Maggi (Barbro Kollberg) have not been favoured by fate. David got off on a wrong start, landed in prison, but now wants to start a new life. Maggi aimed to be an actress, but got pregnant during a chance encounter and has now fled to a provincial town to give herself a second chance. The lovers represent everything the straitlaced society rejects and disdains. Yet even when people take advantage of them, when the couple are accused of theft, when they are thrown out of their apartment – at least they seem to have a guardian angel, who appears in the unlikely form of the “Man with the Umbrella”.
In his second feature film Bergman further develops his specific filmic methods: the contrast between light and darkness, the introductory narration, the look into the mirror, the typical Bergman irony. He is still learning from masters like Alfred Hitchcock, Frank Capra or Marcel Carné, experiments with intertitles to divide up the chapters and needs neither whitewashing nor sentimentality to present himself as advocate of the downtrodden and underprivileged in post-war social-democratic Sweden. And he is also already filling up his “stall” of great actors.