The mood here is a mix of solemnity and sensuality -- the sisters' relationships are by turns abusive, loving, and tormented -- but Bergman's emphasis on deep reds and blacks throughout emphasizes the split between Marie and Karin much too formally. Moreover, the hushed, interior tone fails to generate much drama, and the tension never explodes as it does in a much better Bergman '70s drama, Autumn Sonata. But it has the benefit of some tremendous performances, particularly from Ullmann and Kari Sylwan, who plays the family's indomitable caretaker, Anna. And Sven Nykvist's cinematography, particularly in the exterior shots, have a pastoral, painterly grace.
Continue reading: Cries And Whispers Review
Winter Light, like much of Bergman, is a slow ride, but it rewards your close attention. The action here has less to do with the plot than with the conflicts taking place within the hearts and souls of its protagonists. Björnstrand's pastor is one who is in crisis; he is battling to retain his faith, and to accommodate his mistress in his life. She has no belief in God; she nurtures on a more practical level (her job is as a school teacher), and the pastor is constantly rejecting her ministrations. The Swedish title of this film translates to The Communicants, meaning both those who take communion and those who communicate among themselves, and it's the tragedy of the film that none of them can.
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The Silence is spare, but not in the desolate wasteland sort of way of many Bergman films. In fact, the movie takes place in a city, mostly within a posh hotel. Two sisters get off a train when one of them, Ester (Ingrid Thulin) is too sick to go on. Her trollop sister Anna (Gunnel Lindblom) checks sis into a hotel, drops off her young son, and spends the hours cruising for men (which she finds). Eventually, Anna and the kid decide to continue on their journey, leaving Ester in the hotel, apparently to die alone.
Continue reading: The Silence (1963) Review
Along the way Visconti tosses a litany of decadence at us. As if Nazism wasn't enough, we get incest in the family, a little pedophilia, and some cross-dressing and homosexual hijinks. It all culminates in a bloodbath -- the historical "Night of the Long Knives," a one-night, bloody purge of dissidents in Hitler's old private army, the SA (predecessor to the SS), brought on by fears of a coup against his budding rule. Hitler's rule would be solidified after this history-making event.
Continue reading: The Damned Review
Wild Strawberries is exactly this type of film, a short but often unbearable production about an ancient doctor grappling with a death that is just around the corner. He ends up on a road trip, filled with false starts, wrong turns, and fantastic dream/fantasy sequences, all designed for him to confront death and question the existence of God. But nothing is really questioned, it is simply presented as bleak and nasty, with our hero facing the inevitability of a void in lieu of the afterlife. The film does not provoke any questions or debate about either death or God.
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