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Unmarried Mothers (1953)

Ogift fader sökes (original title)
At a summer-evening dance a young girl meets a man who tells her he is a doctor. They go off together, and after that she never sees him again. She learns that she is pregnant and inquires ... See full summary »


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Cast overview, first billed only:
Eva Stiberg ... Irene Lindblad
Bengt Logardt ... Dr. Stig Hellgren
Öllegård Wellton Öllegård Wellton ... Inga Lind
Lennart Lindberg Lennart Lindberg ... Gösta Hedengran
Lissi Alandh ... Sippi
Erik Strandmark ... Ned
Anne-Margrethe Björlin ... Ann-Margreth Söderberg
Per Sjöstrand Per Sjöstrand ... Erik Eliasson
Gunlög Hagberg Gunlög Hagberg ... Rut Jonsson
Ulla Smidje ... Ann-Marie Andersson
Ulla Holmberg Ulla Holmberg ... Eva Waller
Gerd Ericsson Gerd Ericsson ... Mary Ellinder (as Gerd Ericson)
Märta Dorff ... Mrs. Berglund
Hans Dahlin Hans Dahlin ... Arne Bergström
Gull Natorp ... Elna, Inga's Supervisor


At a summer-evening dance a young girl meets a man who tells her he is a doctor. They go off together, and after that she never sees him again. She learns that she is pregnant and inquires about him at various hospitals, with no success. She reads of his engagement and becomes acquainted with another girl with a situation like her own. At the hospital she discovers that the ward doctor is the man she has been searching for. He is guilt-stricken by her disclosure, but she refuses to let him assume any financial obligation for her unborn-child. He delivers her twins, and she goes to a home for unwed mothers, makes friends and hears other similar stories of seduction and desertion. Meanwhile, the doctor has told his fiancée the story and she is shocked and critical. He breaks the engagement, and goes to the home to ask the girl to marry him. Written by Les Adams <longhorn1939@suddenlink.net>

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Release Date:

22 February 1956 (USA) See more »

Also Known As:

Unmarried Mothers See more »

Company Credits

Production Co:

Centrumateljéerna See more »
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Technical Specs


Sound Mix:


Aspect Ratio:

1.37 : 1
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User Reviews

Well-done Swedish "problem" picture, not exploitation
26 March 2015 | by lor_See all my reviews

It's an irony of film history that the maligned and ridiculed exploitation films of yesteryear have morphed into the survivors over the past decade or two, under the influence of Waters, Tarantino and young fans who revere sleaze and reject quality or mainstream values. The French went through a similar transition at the end of the '50s when the "Cinema of Quality" (Carne, Autant-Lara, Delannoy, etc.) was rejected in favor of Nouvelle Vague experimentation.

So this vintage Swedish drama was released mid-'50s in America as an exploitation type of film and survives today via Something Weird Video. But it is a sincere, mainstream effort, co- existing at the time with a lot of local comedies, Arne Mattsson thrillers and romances, Alf Sjoberg dramas and the just- beginning-to-take off serious cinema of Ingmar Bergman (SUMMER WITH MONIKA and NAKED NIGHT were his first hit movies).

Very sympathetically told from the woman's point of view, story revolves around the mistreatment of women by men who either by design or thoughtlessness get their girl friends in trouble and disappear when the child appears on the scene. Central character is Irene (subtly portrayed by Eva Stiberg), who in 1950 has a one-nighter with a handsome guy she meets dancing at a Midsummer festival. They don't meet again and she can't locate him when she becomes pregnant.

Key plot device is that he is a prominent doctor in another town. and as we encounter other women in similar straits when Irene goes to a special home for expectant and new (unwed) mothers it turns out that Doc knows and has cared for many of them.

Several subplots are interesting in limning the various reactions of family and the dads in question to the birth of a baby. There is even some extremely mild sex-tease involving the most forward (slut in Swedish has a whole different meaning, as cinema fans know) of the girls. Resolution of the issues and the fate of our heroine and the Doc are satisfyingly presented.

Hardly in the camp of PHILOMENA, this film is well-crafted and acted and boasts quality visuals courtesy of Rune Ericson, a cameraman who would later work for the great Mai Zetterling and even shot the infamous unfinished Jerry Lewis opus THE DAY THE CLOWN CRIED. Again, not reaching the heights of Bergman but generally in the same genre as some of his "women's" pictures like WAITING WOMEN and BRINK OF LIFE.

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