of insect. He then leaves for London, and Karin tells Andreas she feels she must go to find out why he left her. Andreas sternly tells her that if she leaves, she cannot return to their marriage, but she departs anyway. Going to David's address in London, Karin finds a woman with congenital health problems named Sara and is surprised to hear Sara say she is David's sister, though he had told Karin he had no family left. Sara guesses Karin is pregnant, though Karin refuses to say if the father is Andreas or David. Sara also declares that David will never leave her. Karin goes, saying she does not think she will return. Back in Sweden, David asks Karin to meet him. He tells her he has found life without her intolerable, and that their relationship has changed him, and that he now cares about what will happen to them. He says he has accepted a position at a Danish university and asks Karin to come with him, with her children. Karin rejects the offer, citing her "duty" to remain. He accuses her of lying and cowardice as they separate. Cast Themes Paul Scherer at Indiana University South Bend argued the film contains "fairly explicit reference to the Garden of Eden and such related themes as Satan, temptation and the fall". Scherer also noted critic James Gay argued anti-Semitism was vaguely a theme in the film, while Virginia Wexman said the film relied on "poetic imagery". The statue of Mary also features in the film's themes. The statue has a small smile, and resembles Karin's mother. Bergman had earlier expressed his psychological difficulty distinguishing between wife and mother, and writer Frank Gado argues that Karin's mother's death removes her from Karin and allows David to love her. The larvae eating the statue may represent David and Karin's fetus. Production Development During a 1964 production in London, Swedish director Ingmar Bergman met Morton Baum, a representative of the American Broadcasting Company, which was launching a film production arm. Bergman concluded a contract with ABC for $1 million. The Touch was Bergman's first English language film, and he viewed it as the first love story film he ever made. In drawing up his story, Bergman was inspired by the death of his friend, an actor, 15 years previously. The death of his father, Erik Bergman, also informed the visuals of the