IMDb > Beröringen (1971)
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Beröringen (1971) More at IMDbPro »

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Up 86% in popularity this week. See why on IMDbPro.
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Release Date:
14 July 1971 (USA) See more »
The Touch is the total expression of love. See more »
A seemingly happy Swedish housewife and mother begins an adulterous affair with a foreign archaeologist who is working near her home... See more » | Add synopsis »
1 win See more »
User Reviews:
Good Film With a Bad Reputation See more (13 total) »


  (in credits order) (verified as complete)

Elliott Gould ... David Kovac

Bibi Andersson ... Karin Vergerus

Max von Sydow ... Andreas Vergerus
Sheila Reid ... Sara Kovac
rest of cast listed alphabetically:
Margaretha Byström ... Secretary to Andreas Vergerus (uncredited)
Elsa Ebbesen ... Hospital Matron (uncredited)
Dennis Gotobed ... English Civil Servant (uncredited)
Karin Gry ... Neighbour (uncredited)
Staffan Hallerstam ... Anders Vergerus (uncredited)

Barbro Hiort af Ornäs ... Karin's Mother (uncredited)
Åke Lindström ... Dr. Holm (uncredited)
Ann-Christin Lobråten ... Museum Employee (uncredited)
Maria Nolgård ... Agnes Vergerus (uncredited)
Erik Nyhlén ... The Archeologist (uncredited)
Bengt Ottekil ... Bellboy (uncredited)
Alan Simon ... Therapist at Museum (uncredited)
Per Sjöstrand ... Therapist (uncredited)

Aino Taube ... Woman on Stairs (uncredited)
Mimmo Wåhlander ... Nurse (uncredited)
Carol Zavis ... Stewardess (uncredited)

Directed by
Ingmar Bergman 
Writing credits
(in alphabetical order)
Ingmar Bergman  screenplay (uncredited)

Produced by
Ingmar Bergman .... producer (uncredited)
Lars-Owe Carlberg .... producer (uncredited)
Original Music by
Carl Michael Bellman 
Peter Covent 
Jan Johansson 
Cinematography by
Sven Nykvist 
Film Editing by
Siv Lundgren 
Production Design by
Ann-Christin Lobråten 
P.A. Lundgren 
Costume Design by
Ethel Sjöholm 
Makeup Department
Cecilia Drott .... makeup artist
Carl M. Lundh .... makeup artist
Bengt Ottekil .... makeup artist
Production Management
Lars-Owe Carlberg .... production manager
Lotti Ekberg .... production manager
Second Unit Director or Assistant Director
Arne Carlsson .... assistant director (uncredited)
Art Department
Stefan Bäckström .... property master (uncredited)
Sound Department
Harry Engholm .... sound
Lennart Engholm .... sound
Berndt Frithiof .... sound mixer (as Bernth Frithiof)
Camera and Electrical Department
Gerhard Carlsson .... electrician
Bo-Erik Gyberg .... still photographer
Stig Limér .... electrician
Jan Nilsson .... electrician
Hans Rehnberg .... electrician
Jan-Eric Söderman .... assistant camera
Other crew
Stefan Bäckström .... crew
Arne Carlsson .... crew
Gerhard Carlsson .... crew
Katinka Faragó .... continuity
Gunnar Fischer .... title designer
Hans Fredriksson .... crew
Stig Limér .... crew
Jan Nilsson .... crew
Kurt Olgar .... crew
Hans Rehnberg .... crew
Ernest Anderson .... publicist (uncredited)
Crew believed to be complete

Production CompaniesDistributors

Additional Details

Also Known As:
"The Touch" - International (English title) (imdb display title), USA
"El toque" - Argentina, Uruguay (original subtitled version)
"Érintés" - Hungary (imdb display title)
"A Hora do Amor" - Brazil
"Ai no sasurai" - Japan (imdb display title)
"Berøringen" - Denmark
"Berøringen" - Norway (imdb display title)
"Berührungen" - West Germany
"De band" - Belgium (Flemish title) (imdb display title)
"Die Berührung" - East Germany
"Dotyk" - Poland
"Ha-Maga" - Israel (Hebrew title)
"I epafi" - Greece (transliterated ISO-LATIN-1 title)
"Kosketus" - Finland
"L'adultera" - Italy
"La carcoma" - Spain
"Le lien" - France
"O Amante" - Portugal
"Temas" - Turkey (Turkish title)
"The Touch" - Belgium (English title) (imdb display title)
"The Touch" - Netherlands (imdb display title)
See more »
115 min
Color (Eastmancolor)
Aspect Ratio:
1.85 : 1 See more »
Sound Mix:
Argentina:16 | Finland:K-16 | Iceland:L | Netherlands:18 (orginal rating) | Norway:16 | Sweden:15 | UK:X (original rating) | UK:15 (video rating) (1996) | USA:R

Did You Know?

Prior to Elliott Gould, Dustin Hoffman was asked to play the part of David Kovac but Hoffman declined due to the pregnancy of his wife.See more »
Movie Connections:
Referenced in Rip Van Marlowe (2002) (V)See more »
Liksom en herdinnaSee more »


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17 out of 17 people found the following review useful.
Good Film With a Bad Reputation, 11 January 2003
Author: Tartarlamb from Oregon

I've heard a lot of things about this film -- it generally gets low reviews, is described as "unBergmanesque", and the fact that its so difficult to find led me have very low expectations for the film. I expected something between the atypical Bergman plot of "The Serpent's Egg" and the disturbing social violence of "From the Life of the Marionettes." I finally tracked down a copy, poor in quality, and expected mediocrity at best when I put it in.

After having just finished watching it, I can say I was very pleasantly surprised with the film. A lot of the things said about it are just plain false -- the plot is very much in keeping with Bergman's other material. A married woman, Karin (Anderson), falls in love with a disturbed architect, David (Gould), and the two begin an emotionally confused love affair. Karin is caught between her happy bourgeois life with her husband (Sydow) and children, and her passionate, unconventional relationship with David. Acting in bad faith, Karen refuses to choose between her two lives, though both David and her husband eventually push the decision on her. Like most Bergman films, its a psychological roller coaster and a bleak portrayal of the coarseness of human relationships.

Bibi Anderson does a wonderful job in a very difficult role, and Max von Sydow plays the part of the honest and good intentioned husband very well, playing hard on the viewer's sympathies. The stiff performance of Gould echoes that of Carradine in "The Serpent's Egg," so it must unfortunately be attributed to Bergman's struggle with directing in English, not on Gould himself. If I recall, the film was made in both Swedish and English, both versions filmed at once, which poses obvious production difficulties which might account from the some times mechanical treatment of the script.

The film has an excellent pace to it, and moves very swiftly and smoothly, wonderfully shot by Nykvist in a way very similar to "The Passion of Anna." Unlike a lot of Bergman's depressing work in the 1970s, I felt good about the film when it was over.

I don't know why this film has such a poor reputation -- I'm very much baffled after having seen it. My guess is the obvious mistake of having made it in English accounts for most of this.

Its seems a lot like Bergman's other work in this period. Very Good.

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