Hour of the Wolf

Written and directed by Ingmar Bergman, Vargtimmen (Hour of the Wolf) is the story of an artist who goes on a retreat to an isolated island with his wife as he recalls around memories of his past. The film is a psychological horror-drama that explores life-long trauma and terror as it is set entirely in an isolated island. Starring Max von Sydow, Liv Ullmann, Gertrud Fridh, Georg Rydeburg, Erland Josephson, and Ingrid Thulin. Vargtimmen is a chilling and intoxicating film from Ingmar Bergman.

Set in a remote island near Sweden, the film revolves around a man and his pregnant island on a retreat where the former starts to recall dark memories and strange images in his head as he becomes very distant. It’s a film that opens and ends with the wife Alma (Liv Ullmann) talking about what had happened during this holiday where things start off fine but then her husband Johan Borg (Max von Sydow) starts to unravel due to his insomnia and claims that he is seeing people who could be imaginary. Even as they’re invited to a party at a nearby castle by a baron where the events become very strange as it would lead to Johan unraveling even more. Ingmar Bergman’s screenplay starts off with a claim that the story is real as Bergman says he got the story from a diary given to him by Alma as it would be the basis for what is to be told. Though much of the narrative is told by Alma through flashbacks, it is layered as it relates to the memories and fears that Johan endures which includes the appearance of a former lover.

Bergman’s direction is quite intoxicating in its approach to compositions and framing as well as emphasizing on surrealism to help tell the story. Shot on location at the island of Baltrum in Sweden, the film does play into this world that is quite isolated where a man is desperate to get better and relax but he is slowly undone by his demons and bad memories. While there are some unique wide shots that has Bergman take stock in the location as well as putting actors into a frame for a wide shot. Much of it is very simple with its usage of medium shots and close-ups as it play into the drama as well as the moments of surrealism which includes one eerie sequence. A sequence involving Johan and a child that play into the dark past that Johan is dealing with while the scenes at the castle for the film’s climax are just as strange as it adds to this blur of reality and fiction. Especially as it involves Alma who would be forced to watch this blend come to life while trying to come terms with what she saw. Overall, Bergman creates a haunting yet visceral film about demons and dark pasts.

Cinematographer Sven Nykvist does incredible work with the film’s black-and-white photography as it is rich in its look as well as playing to its sense of atmosphere in the naturalistic daytime lighting as well as the interior scenes in day and night for its usage of shadows. Editor Ulla Ryghe does excellent work with the editing as it has some style with its usage of jump-cuts and some eerie montages which play into the drama and suspense. Production designer Marik Vos-Lundh does brilliant work with the look of the house that Johan and Alma live in as well as some of the interiors inside the castle as some of it is very scary. Costume designer Mago does nice work with the costumes as it is very quaint for the clothes that Johan and Alma wear at home in contrast to the more posh look of the people in the castle. The sound work of Lennart Engholm and Per-Olof Pettersson is terrific for the atmosphere it creates for the scenes inside the castle as well as in some of the film’s surreal moments. The film’s music by Lars Johan Werle is superb for its chilling score that play into the suspense including the horrifying sequence involving Johan and a child while the film also features classical music for a puppet show.

The film’s amazing cast feature some notable small roles and appearances from Gertrud Fridh as the baron’s wife who flirts with Johan, Erland Josephson as the baron who invites Johan to his home with some strange intentions, and Ingrid Thulin in a radiant performance as a former lover of Johan who would haunt him in his dreams. Max von Sydow is remarkable as Johan Borg as an artist who is dealing with an illness as it worsens to the point that he starts to unravel and wonders if the reality he’s seeing is real which would haunt him. Finally, there’s Liv Ullmann in a radiant performance as Alma as Johan’s pregnant wife who is trying to understand everything her husband is dealing with as well as reading his diary as she wonders if she really knows him at all.

Vargtimmen is a phenomenal film from Ingmar Bergman with great performances from Max von Sydow and Liv Ullmann. It’s a film that explores madness and demons as it relates to Bergman’s exploration of the mind and what drive people to lose it. In the end, Vargtimmen is a spectacular film from Ingmar Bergman.

Ingmar Bergman Films: (Crisis) - (It Rains on Our Love) - (A Ship to India) - (Music of Darkness) - (Port of Call) - (Prison) - (Thirst (1949 film)) - (To Joy) - (This Can’t Happen Here) - (Summer Interlude) - Secrets of Women - Summer with Monika - Sawdust and Tinsel - A Lesson in Love - Dreams (1955 film) - Smiles of a Summer Night - The Seventh Seal - (Mr. Sleeman is Coming) – Wild Strawberries - (The Venetian) - (Brink of Life) - (Rabies) - The Magician (1958 film) - The Virgin Spring - The Devil's Eye - Through a Glass Darkly - Winter Light - The Silence (1963 film) - All These Women - Persona - (Stimulantia-Daniel) - (Shame (1968 film)) - (The Rite) - The Passion of Anna - (The Touch) – Cries & Whispers - Scenes from a Marriage - (The Magic Flute) - (Face to Face) - (The Serpent’s Egg) – Autumn Sonata - From the Life of the Marionettes - Fanny & Alexander - (After the Rehearsal) - (The Blessed Ones) - (In the Presence of a Clown) - (The Image Makers) – Saraband

© thevoid99 2017

The Magician (1958 film)

Written and directed by Ingmar Bergman, Ansiktet (The Magician) is the story of a traveling magician who arrives into a small town where he and his troupe are asked to perform a sample of their tricks to disprove suspicions of the supernatural. The film is an exploration into a man who wants to perform magic as he copes with those who believe that he’s up to no good. Starring Max von Sydow, Ingrid Thulin, Gunnar Bjornstrand, Naima Wifstrand, Bengt Ekerot, Bibi Andersson, and Erland Josephson. Ansiktet is a whimsical and mesmerizing film from Ingmar Bergman.

Set in the mid-19th Century in Sweden, the film revolves a traveling magician and his troupe who arrive in a small town where they have to contend with a group of town officials who want to prove that their so-called magic is nothing but a ruse. It’s a film that plays into the idea of what is real against what is fantasy as it is told in the span of an entire day where this magician has to prove to these men of science and facts to see that he is not a fraud as he is given a night to prepare for what he does. It’s a film with a simple plot where it is about the people living in this lavish townhouse in the middle of this small town as this magician named Albert Vogler (Max von Sydow) observes a lot of what is around him as he remains silent despite the attempts of intellectual doctors who think he’s faking it.

Much of the film’s two acts revolves around the preparation of the act as a preview while members of the troupe socialize with maids and cooks along with the people in the house. Its third act isn’t just about the performance but also the aftermath where it plays into this reality vs. fantasy idea and how science sometimes can’t prove what is real. Ingmar Bergman’s script also plays into the characters and the roles they play as Vogler is a very ambiguous character whose assistant Mr. Aman (Ingrid Thulin) is really a woman in disguise while those who want to discredit them include the house’s host Consul Egerman (Erland Josephson) and Dr. Vergarus (Gunnar Bjornstrand). All of which are playing into this game of who can outwit who.

Bergman’s direction is quite simple in terms of his compositions yet manages to find ways to inject elements of humor, drama, and horror into an entire film. Notably as he maintains something intimate for scenes set at the carriage or inside the house where there is a lot of things that are going on. Even as some of the comical moments involve one of the troupe members in Tubal (Ake Fridell) who spends his time flirting with women or somber moment where Egerman’s wife (Gertrud Fridh) is trying to seduce Vogler. Bergman’s usage of medium shots do play into Vogler’s stage performance as well as the approach to comedy and intrigue while horror would come later in the film to play into the idea of fantasy vs. reality. Overall, Bergman crafts a very delightful and mesmerizing film about a magician going into a battle of wits against a group of intellectual scientist and town leaders. 

Cinematographer Gunnar Fischer does amazing work with the film‘s black-and-white photography from his usage of shades and shadows for scenes at night including some rich interior shots with its usage of natural light as it is among one of the film‘s highlights. Editor Oscar Rosander does excellent work with the editing as it is very straightforward with some rhythmic cuts to play into the film‘s suspenseful moments along with its comedic moments. Production designer P.A. Lundgren does fantastic work with the look of the carriage as well as the rooms in the house where many of the characters converge to.

Costume designers Greta Johansson and Manne Lindholm do brilliant work with the costumes that play into the period of the 1840s from the clothes the men wear to the dresses of the women. The sound work of Ake Hansson and Aaby Wedin is superb for the sound effects that are created for some of the film‘s eerie and suspenseful moments as it plays into what Vogler is able to do as a magician. The film’s music by Erik Nordgren is wonderful for its array of music scores from whimsical numbers to more somber, string-based pieces to play into the drama as it is among one of the highlights of the film.

The film’s phenomenal cast include some notable small roles from Axel Duberg and Oscar Ljung as a couple of servants where the latter would contribute to a trick, Ulla Sjoblom as a police superintendent’s wife who succumbs to a magic trick, Toivo Pawlo as the police superintendent, Sif Ruud as the house cook Sofia, Bengt Ekerot as a drunken actor named Johan Spegel Vogler would pick up early in the film, Naima Wifstrand as Vogler’s very brash and outspoken grandmother, Lars Ekborg as the troupe’s stagecoach driver, Ake Fridell as the troupe’s charismatic spokesman, and Bibi Andersson as a young maid named Sara who would fall for the stagecoach driver. Gertrud Fridh is fantastic as a consul’s wife who goes to Vogler as she is still reeling from the loss of her child while Erland Josephson is excellent as Consul Egerman who wants to discredit and disprove Vogler’s tricks.

Gunnar Bjornstrand is amazing as Dr. Vergerus as a minister of health official who wants to see if he can discredit Vogler while he attempts to seduce Mr. Aman knowing that Aman is a woman. Ingrid Thulin is brilliant as Mr. Aman as a woman posing as Vogler’s assistant in order to maintain a role that she doesn’t want to reveal while being Vogler’s conscious of sorts. Finally, there’s Max von Sydow in a remarkable performance as Albert Emanuel Vogler where it’s a very restrained performance von Sydow doesn’t say a word for most of the film as he presents someone that seems tormented and overwhelmed in what he needs to prove to these men who are skeptical of his work.

Ansiktet is a sensational film from Ingmar Bergman that features an incredible performance from Max von Sydow. While it is a film that mixes all sorts of genres as well as play into Bergman’s own views on skepticism vs. faith in the form of entertainment. It is also a film that has Bergman pay tribute of sorts to the world of magic and what it could be for those that just want a bit of escape. In the end, Ansiktet is an extraordinary film from Ingmar Bergman.

Ingmar Bergman Films: (Crisis) - (It Rains on Our Love) - (A Ship to India) - (Music of Darkness) - (Port of Call) - (Prison) - (Thirst (1949 film)) - (To Joy) - (This Can’t Happen Here) - (Summer Interlude) - Secrets of Women - Summer with Monika - Sawdust and Tinsel - A Lesson in Love - Dreams - Smiles of a Summer Night - The Seventh Seal - (Mr. Sleeman is Coming) - Wild Strawberries - (The Venetian) - (Brink of Life) - (Rabies) - The Virgin Spring - The Devil’s Eye - Through a Glass Darkly - Winter Light - The Silence - All These Women - Persona - (Simulantia-Daniel) - Hour of the Wolf - (Shame (1968 film)) - (The Rite) - The Passion of Anna - (The Touch) - Cries & Whispers - Scenes from a Marriage - (The Magic Flute) - (Face to Face) - (The Serpent’s Egg) - Autumn Sonata - From the Life of the Marionettes - Fanny & Alexander - (After the Rehearsal) - (Karin’s Face) - (The Blessed Ones) - (In the Presence of a Clown) - (The Image Makers) - Saraband

© thevoid99 2015

The Silence (1963 film)

Written and directed by Ingmar Bergman, Tystnaden (The Silence) is the story of two different sisters who travel together with the young son of one of the sisters as they deal with their own tense relationship as their country is on the brink of war. The third and final part of Bergman’s trilogy on faith, the film is an exploration about two different women who challenge each other with their ideas on life as well as daring questions on faith and sexuality. Starring Ingrid Thulin, Gunnel Lindblom, Birger Malmsteen, Hakan Jahnberg, and Jorgen Lindstrom. Tystnaden is a chilling yet enthralling film from Ingmar Bergman.

Set in a fictional European country where war is about to emerge, the film explores a day in the life of two sisters who are traveling on a train with the young son of one of the women as they would spend most of the day in a hotel at an unnamed town. It’s a film that explores not just this troubled relationship between these two very different sisters but also in the young boy who finds himself caught in the middle. For the eldest Ester (Ingrid Thulin), she is this intellectual translator who has fallen ill as she spends part of the day bed-ridden while medicating herself with vodka and cigarettes. For her younger sister Anna (Gunnel Lindblom), she is a woman who uses her sensuality to get by as she takes her young son Johan (Jorgen Lindstrom) on the trip where they would live with relatives in this state of war. Ester and Anna are two women in very different paths as Anna is young enough to meet with people and have her way in a sexual way while Ester is often alone where she usually spends her time working and dealing with her illness.

Ingmar Bergman’s screenplay doesn’t go into any kind of conventional ideas of storytelling nor does it play into any traditional plot schematics. Instead, he strips everything down to the barest essentials as he wants to focus on this growing estrangement between two sisters as Anna is reluctant to care for Ester as she would often go into spasms and other aspects of her illness. While Johan would explore parts of the hotel where he would encounter a group of performing midgets and a very kind night porter (Hakan Jahnberg), he is reluctant to watch over his aunt yet eventually manages to be a source of comfort for her. Anna would go into her own journey where she would meet a bartender (Birger Malmsteen) whom she would later sleep with. During her journey, she would deal with a world that she is entranced by but is also a bit repulsed as it serves as a reflection of sorts of who she is. Though the theme of faith is only told minimally, it does become very prevalent in its third act as it relates to Ester’s struggles with her illness.

Bergman’s direction is quite intoxicating in the way he presents this very intimate and minimalist drama where much of it is set in this hotel. The direction has Bergman going for some very stylish yet evocative compositions in the way he would put his actors into a frame or how would have something happen in the background though the story is being told in the foreground. Still, Bergman is about telling the story where he would also find ways to be provocative but not overtly in the way he approaches sexuality. Whereas Anna uses sexuality to get what she wants, Ester is someone who is tempted by it as it would create this schism between the two sisters as it’s one of many things they would clash about. Especially as Anna has managed to use her words and sensuality to power over Ester who uses her intellect to try and reason with Anna. Ester would eventually realizes that it may not work as she tries to connect with her no matter how cold Anna could be.

The direction also has Bergman use some low-angle and slanted angles to play into some of the film’s emotional aspects of the film while some of the sexual content is quite intense as it would play to Anna’s own sense of passion but also the conflict within herself. Things do intensify in the third act as it relates to Ester’s desire to connect with Anna but there’s a lot of things that complicates everything where faith starts to come into play as Ester tries to deal with her illness and the concept of death. Especially as she would reach out to Johan whom she had started to connect with as he begins to question the actions of his own mother. Overall, Bergman crafts a very engaging yet harrowing film about humanity and faith.

Cinematographer Sven Nykvist does brilliant work with the film‘s black-and-white photography to play into some of the film‘s eerie tone with its entrancing lighting schemes for some of its interiors along with its use of shadows to play into its sense of despair. Editor Ulla Ryghe does excellent work with the editing with its very methodical yet low-key approach to editing as it avoids conventional cutting styles in order to play into the film‘s emotional tone. Production designer P.A. Lundgren does superb work with the film‘s set design from the look of the hotel hallways as well as the room that Ester, Anna, and Johan would stay in. Costume designer Marik Vos-Lundh does nice work with the costumes it showcases the two different world of the sisters from the more sensual look of Anna to the more prim look of Ester.

The makeup work of Borje Lundh is terrific for some of the look that Anna would wear as she goes out. The sound work of Stig Flodin, Bo Leveren, and Tage Sjoborg is amazing for the atmosphere it creates in the hotel rooms and hotel halls as well as some of the moments in the theater including the sex act that Anna would see. The film’s music consists of pieces by Johann Sebastian Bach, Robert Mersey, and Ivan Renliden as it is played on location to play into the world that Ester wants to be in as she is desperate to connect with someone.

The film’s fantastic cast includes notable small roles Birger Malmsteen as a bartender that Anna hooks up with and Hakan Jahnberg as a kind waiter who is the one person that Ester and Johan seem to be comfortable with. Jorgen Lindstrom is incredible as the boy Johan who tries to deal with his mother’s neglect as well as watching over his aunt Ester as he starts to get to know her. Gunnel Lindblom is amazing as Johan’s mother Anna who is reluctant to accompany her sister as well as she is eager to live her life yet finds herself compromised by her identity and age in a world that is changing as she tries to hold on to her youth. Finally, there’s Ingrid Thulin in a phenomenal performance as Ester as this woman of great intelligence tries to deal with her illness and the growing estrangement she has with Anna as well as the flaws of humanity in her search for answers about God and if he ever listens.

Tystnaden is an outstanding film from Ingmar Bergman. Filled with great performances from its cast as well as Sven Nykvist’s entrancing photography and captivating themes on faith and humanity. The film isn’t just one of Bergman’s quintessential films but also a fitting end to his trilogy of faith in the way it explores people trying to find answers at their most desperate. In the end, Tystnaden is a rich yet spectacular film from Ingmar Bergman.

Ingmar Bergman Films: (Crisis) - (It Rains on Our Love) - (A Ship to India) - (Music of Darkness) - (Port of Call) - (Prison) - (Thirst (1949 film)) - (To Joy) - (This Can’t Happen Here) - (Summer Interlude) - Secrets of Women - Summer with Monika - Sawdust and Tinsel - A Lesson in Love - Dreams (1955 film) - Smiles of a Summer Night - The Seventh Seal - (Mr. Sleeman is Coming) - Wild Strawberries - (The Venetian) - (Brink of Life) - (Rabies) - The Magician - The Virgin Spring - The Devil’s Eye - Through a Glass Darkly - Winter Light - All These Women - Persona - (Simulantia-Daniel) - Hour of the Wolf - (Shame (1968 film)) - (The Rite) - The Passion of Anna - (The Touch) - Cries & Whispers - Scenes From a Marriage - (The Magic Flute) - (Face to Face) - (The Serpent’s Egg) - Autumn Sonata - From the Life of the Marionettes - Fanny & Alexander - (After the Rehearsal) - (Karin’s Face) - (The Blessed Ones) - (In the Presence of a Clown) - (The Image Makers) - Saraband

© thevoid99 2014

Winter Light

Written and directed by Ingmar Bergman, Nattvardsgasterna (Winter Light) is the story of a small town pastor who deals with a crisis of faith as he is convinced that he’s failing those in his small town as his congregation grows smaller. The film is the second part of a trilogy based on the theme of faith where Bergman explores the loss of faith. Starring Gunnar Bjornstrand, Max von Sydow, Ingrid Thulin, Gunnel Lindblom, and Allan Edwall. Nattvardsgasterna is a chilling yet rapturous film from Ingmar Bergman.

What happens to small town pastor who notices the small number of people attending churches as there are a few who are troubled as the pastor is unable to help them? That is essentially the premise of the film as it is told in the span of an entire day in the life of Tomas Ericsson (Gunnar Bjornstrand) who starts to question his doubt as a suicidal fisherman named Jonas Persson (Max von Sydow) and a loving woman named Marta (Ingrid Thulin) all come to him for help. Yet, Ericsson has no idea how to help them as Marta tries to help with his doubts only to create more trouble as the film goes on. Even as Ericsson also notices the growing decline of people coming to the church as he believes that he’s failing everyone including God.

Ingmar Bergman’s script has a unique structure as much of the first half is spent inside the church that Ericsson lives and serves at where the film begins and ends with a church service. Yet, both scenes would play into Ericsson’s growing sense of doubt as well as the feeling of decline about faith and religion in a world that is changing and filled with hopelessness. In the beginning of the film, there’s only 11 people in the church including Ericsson, Jonas Persson and his wife Karin (Gunnel Lindblom), Marta, the organist, and other locals. Only five would go come in to eat the body of Christ and drink his blood as it plays into Ericsson’s growing doubt as he later meets the Perssons and Marta as its first half has Ericsson asking questions to himself and God about this lack of faith as well as his inability to really help those in need. Even as he reads a letter from Marta who expresses her lack of faith and anger towards Ericsson over his neglect though she remains devoted to him.

The second half of the story takes place outside of the church where it would play into Ericsson’s inability to help as well as the sense of him not being needed with the exception of a few people. Even as he has to do a nighttime service at a nearby church as he wonders if anyone is going to show up. It would also play into the complex relationship between himself and Marta where a lot is revealed but also into how Ericsson is still mourning the death of his wife four years earlier. The film’s final moments where it is at a church where Ericsson is to perform a service is about not just the story of the Passion but also its meanings where it would play into the doubt that Ericsson is going through.

Bergman’s direction is very entrancing in the way he plays up a world where faith is prevalent in the film. Notably in the opening service scene where Bergman has the camera right at Ericsson as he performs his service while using slow, tracking medium shots to feature those who are attending including a wide shot of the church to see who is there and how it feels sort of empty there. Bergman would also use close-ups for a few moments including in some intimate shots while he also creates this amazing sequence where Marta reads her letter in scene that sort of breaks down the fourth wall. There’s also an intimacy in some of the conversations that Bergman plays out including the way he puts his actors into a frame where Jonas is in front of the camera and Ericsson is in the foreground talking.

Bergman’s direction in the second half where Ericsson steps out of the church has this element of realism that is happening. Notably as it showcases the chaos of the world where Ericsson is aware of the indifference towards the church in the small town. Even as those who turn to him realize how powerless he’s becoming where Bergman uses some wide and medium shots to create something that feels like a world is changing and faith has dwindled. By the time the film returns to another church towards the end, the intimacy becomes far more intense during a scene where the church’s handicapped sexton Algot (Allan Edwall) talks about the story of the Passion. It’s a moment that would finally make a decision for Ericsson about what to do as it also raises question into who will show up for the nighttime service or will there be one? Overall, Bergman creates a very fascinating yet engrossing film about a pastor’s doubt in a world that is changing.

Cinematographer Sven Nykvist does brilliant work with the film‘s black-and-white photography from the entrancing look of the church interiors in the day as well as the daytime exterior scenes to the more haunting moments in the film‘s final moments where Nykvist uses a lot of shading to play up the chilling atmosphere of the film. Editor Ulla Ryghe does excellent work with the editing as it‘s mostly straightforward while using some methodical cuts to play out the intensity of the drama. Production designer P.A. Lundgren does amazing work with the look of the churches as well as the schoolhouse that Marta works at. Costume designer Mago does nice work with the clothes as it‘s mostly straightforward including Ericsson‘s uniform. The sound work of Stig Flodin and Brian Wilkstrom is superb for the intimacy that is played out including the scenes at the church as the only music that is played are organ church pieces inside the church.

The film’s cast is fantastic as it features some noteworthy small performances from Elsa Ebbesen as an old widow who is one of the few that attends the services and Olof Thunberg as the church organist who feels melancholic about the indifference the church is getting. Allan Edwall is excellent as the handicapped sexton Algot who is still devoted to the service despite the decline of the congregation while Gunnel Lindblom is wonderful as Jonas’ wife who comes to Ericsson for help about her husband. Max von Sydow is great as the troubled Jonas as a man disturbed by the chaos of the world as he seeks guidance from Ericsson. Ingrid Thulin is brilliant as Marta as a loving woman who tries to help Ericsson despite some anger towards him as she later deals with her doubt as well as Ericsson’s growing resentment towards her. Finally, there’s Gunnar Bjornstrand in a tremendous performance as Tomas Ericsson as a man consumed with doubt and hopelessness as he feels like he’s failing those around him where Bjornstrand puts a lot of weight into a very difficult character who tries to deal with indifference and a world that is changing.

Nattvardsgasterna is a magnificent film from Ingmar Bergman. With a great cast and amazing technical work highlighted by Sven Nykvist’s cinematography, it’s a film that is definitely one of Bergman’s best. Notably as it raises the idea of faith and doubt in a world that is changing as Bergman asks big questions about the idea of faith. In the end, Nattvardsgasterna is a spectacular film from Ingmar Bergman.

Ingmar Bergman Films: (Crisis) - (It Rains on Our Love) - (A Ship to India) - (Music of Darkness) - (Port of Call) - (Prison) - (Thirst (1949 film)) - (To Joy) - (This Can’t Happen Here) - (Summer Interlude) - Secrets of Women - Summer with Monika - Sawdust & Tinsel - A Lesson in Love - Dreams (1955 film) - Smiles of a Summer Night - The Seventh Seal - (Mr. Sleeman is Coming) - Wild Strawberries - (The Venetian) - (Brink of Life) - (Rabies) - The Magician - The Virgin Spring - The Devil’s Eye - Through a Glass Darkly - The Silence - All These Women - Persona - (Simulantia-Daniel) - Hour of the Wolf - (Shame (1968 film)) - (The Rite) - The Passion of Anna - (The Touch) - Cries & Whispers - Scenes from a Marriage - (The Magic Flute) - (Face to Face) - (The Serpent’s Egg) - Autumn Sonata - (From the Life of Marionettes) - Fanny & Alexander - (After the Rehearsal) - (Karin’s Face) - (The Blessed Ones) - (In the Presence of a Clown) - (The Image Makers) - Saraband

© thevoid99 2013

Cries & Whispers

Originally Written and Posted at Epinions.com on 5/24/09 w/ Additional Edits.

Written and directed by Ingmar Bergman, Viskningar och rop (Cries & Whispers) tells the story of two sisters watching over their third sister as she is dying on their deathbed. With a maid watching over the dying sister, the two sisters become haunted by their own fractured relationship as well as the sister that is dying. The film is a meditation on death as well as the complex relationship of sisters as it plays on to one of Bergman's exploration into the themes of death. Starring Bergman regulars Harriet Andersson, Ingrid Thulin, Liv Ullmann, and Erland Josephson plus Kari Sylwan and Anders Ek. Viskningar och rop is a haunting yet entrancing film from Ingmar Bergman.

It's a quiet autumn day in the 1800s as Agnes (Harriet Andersson) is dying of cancer as she recalls memories of her mother (Liv Ullmann) and the moment they connected as a young girl (Rossana Mariano) despite times that they weren't because she was more attentive to her younger sister Maria (Lena Bergman). Staying in the family mansion are Maria (Liv Ullmann) and eldest sister Karin (Ingrid Thulin) along with their maid Anna (Kari Sylwan). A doctor (Erland Josephson) visits to check on Agnes where he tells Karin about Agnes' condition. Meanwhile, Maria tries to seduce the doctor who refuses. Especially as Maria recalls a time when she tried to seduce the doctor when he was trying to take care of Anna's child, who was gravely ill at the time. Maria's infidelity forced her businessman husband Joakim (Henning Moritzen) to stab himself because of her infidelity and selfishness.

With Agnes falling very ill and clinging on to her ever-so loyal maid Anna, the two sisters help out but what happens would be horrific. After the priest (Anders Ek) arrives to perform a service, he reveals about Agnes' faith which was far stronger than his own faith in God. Karin meanwhile, thinks of her troubled relationship with her husband Fredrik (Georg Arlin) who is a diplomat. Karin's sexually-repressed nature forces her to mutilate herself in such a shocking manner. Maria, desperate to have some sort of reconciliation with the repressed Karin, asks her sister to reform some bond as Karin refuses as she says cruel things to her youngest sister. During this emotional moment, Anna suddenly hears something as Agnes is desperate for her sisters to help her. What happens would enforce the true nature of the sisters with Anna watching all that is going on.

Bergman's interest in death and face has been prominent in many of his films. Yet, none of them could reach the level of such terror and high emotion that he displays in this film. While the film is mostly shot inside the manor that mostly features four prominent characters, all of them being women. It is a film about estranged sisters and how they all cope with the upcoming death of one of their own. Watching all of this is Anna, the good-natured, loyal maid who takes care of the dying Agnes as she is laying on her final moments. Amidst all of this drama, the other two sisters are dealing with guilt and shame as each of them recall some horrible moments in their own past. In the youngest, Maria, she is a woman who is shallow, flirtatious, and never really considers any idea of loyalty as she hurts her husband and the doctor who she tries to seduce. Then there's Karin, a woman who is all business but is very cold at heart with suppressed feelings towards everyone including her own sexual desires.

Bergman's screenplay definitely delves into the themes of morality, faith, and death along with its emphasis on character study. The story is structured to capture what each major character is feeling as it's told in theatrical kind of style through Bergman's direction. In fleshing out the structure of the story, Bergman uses red-fade outs to get the story going into either a flashback or to get the story to move forward. Bergman's camera is very engaging into all of the drama as his compositions feature some striking moments from the close-ups of the individuals present in the film. Even as half of their face is covered in black. Yet, he even moves the camera with tracking shots to capture the intensity of what is happening. Bergman's staging and presentation truly shows the director at the height of his power as he creates film that is entrancing as well as mesmerizing in its images and drama.

Longtime cinematographer Sven Nykvist does spectacular work with the film's cinematography with gorgeous, colorful exterior shots in some of the film's dreamier sequences. Nykvist's interior work whether its day or night definitely plays up to the tone of the film while the usage of red is very striking to emphasize the feeling of death. Even through some dark nighttime scenes, there's a haunting tone to the shot and lighting as Nykvist's photography is truly exquisite as he creates some of his best work in his long, influential career. Editor Siv Lundgren does great work with the editing in the use of smooth transitions, dissolves, and most of all, the fade-to-red cuts to flesh out its structure while giving the audience of a flashback or as a transition cut to move the story forward.

Production/costume designer Marik Vos-Lundh does amazing work with the film's art direction in decorator main parts of the house from the walls and ceiling with red while putting on 19th Century appliances and objects around the house. The look of the house inside is truly mesmerizing as it reveals a haunting quality of the film that is played throughout. The costumes is filled with some great work from the lavish, cleavage-baring dresses that Maria wears to the more tightened up, black clothing to display her personality. Overall, the costume and set design work is phenomenal. The sound work of Tommy Persson, mixers Owe Svensson and Sven Fahlen is mesmerizing with the sounds of winds, screams, and whispers that play throughout the entire film. Even as it plays out to something that can be described as chilling to give a feel of terror. The film's music features compositions from Johan Sebastian Bach in its dramatic presentation played by violinist Pierre Fournier along with the striking, somber piano composition from Frederic Chopin.

The cast is definitely well-assembled with some notably small roles from the daughters of Ingmar Bergman (who briefly serves as a narrator) as Lena as the young Maria and Ingrid (not the famous actress) as a spectator along with producer Lars-Owe Carlberg as a spectator in a flashback scene. Other small roles include Rossana Mariano as the young Agnes, Monika Priede as the young Karin, Linn Ullmann as Maria's daughter, and Malin Gjorup as Anna's daughter. Other memorable key small roles include Anders Ek as the faithfully-challenged priest, Georg Arlin as Karin's loveless husband Fredrik, and Henning Moritzen as Maria's distraught husband Joakim. Longtime Bergman collaborator Erland Josephson is excellent as the doctor, a man who is concerned with Agnes' health while trying to evade the seductive flirtations of Maria.

Kari Sylwan is brilliant as Anna, the loyal maid who is willing to comfort Agnes by any means while being the only character with a good heart. Sylwan's mostly silent yet entrancing performance is really the performance that holds the film altogether as it's really one of the best performances ever presented. Harriet Andersson is great as Agnes, the dying sister dealing with her illness as well as some regrets she have wishing for a full-scale union with her sisters. Andersson's performance is mostly physical as she sells the despair and struggle of her ill character as it's definitely one of the most haunting performances captured on cinema.

In a dual role as both Maria and the mother of the sisters in flashback, Liv Ullmann brings in one of her greatest performances to date as two different women. In the role of the mother, Ullmann presents a character who is quiet but also loving while as Maria. Ullmann uses her beauty as both entrancing but also disgusting. Ullmann brings a flighty, seductive quality but underneath all of that vanity is a woman who is truly horrible in not being devoted to anyone at all. It's a mesmerizing role from one of Bergman's great actresses. Another of Bergman's longtime collaborators is Ingrid Thulin as the cold, hostile Karin. Thulin's performance is very restrained as she plays a woman extremely repressed in her emotions and not wanting to be touched by anyone. Yet, there's something really horrifying about Karin as she mutilates herself and smears blood on her face that shows that the character really needs help. Thulin's performance is really amazing in both its sense of terror but also sympathy as a woman is really crying for help.

Viskningar och rop is a haunting yet eerie film from Ingmar Bergman. Thanks in part to some great art direction, costume design, sound work, editing, the eerie cinematography of Sven Nykvist, and the performances of Kari Sylwan, Harriet Andersson, Liv Ullmann, and Ingrid Thulin. It's a film that will definitely question the viewer's thoughts on death, faith, and family. For fans of Ingmar Bergman, this film is without a doubt one of his best films of his career. Those new to Bergman will see this as a nice introduction though his earlier late 1950s films are much better intros to the late, great director. In the end, Viskningar och rop is a must-see film from Ingmar Bergman as it confronts death and faith to its sometimes, horrifying core.

Ingmar Bergman Films: (Crisis) - (It Rains on Our Love) - (A Ship to India) - (Music in Darkness) - (Port of Call) - (Prison) - (Thirst (1949 film)) - (To Joy) - (This Can't Happen Here) - (Summer Interlude) - Secrets of Women - Summer with Monika - Sawdust and Tinsel - A Lesson in Love - Dreams (1955 film) - Smiles of a Summer Night - The Seventh Seal - (Mr. Sleeman is Coming) - Wild Strawberries - (The Venetian) - (Brink of Life) - (Rabies) - The Magician - The Virgin Spring - The Devil’s Eye - Through a Glass Darkly - Winter Light - The Silence - All These Women - Persona - (Stimulantia-Daniel) - Hour of the Wolf - (Shame (1968)) - (The Rite) - The Passion of Anna - (The Touch) - Scenes from a Marriage - (The Magic Flute) - (Face to Face) - (The Serpent’s Egg) - Autumn Sonata - From the Life of the Marionettes - Fanny & Alexander - (After the Rehearsal) - (The Blessed Ones) - (In the Presence of a Clown) - (The Image Makers) - Saraband

© thevoid99 2012

Wild Strawberries

Originally Written and Posted at Epinions.com on 4/12/07 w/ Additional Edits.

Written and directed by Ingmar Bergman, Smultronstallet (Wild Strawberries) is the story of a professor whose own life is in danger while going on the road with his daughter-in-law to receive an award. During the journey, the professor is forced to look back on his own world while being haunted by nightmares, daydreams, and his own old age. A film that questions existentialism, Smultronstallet is a film that is witty while human in the fear of age and human behaviors. Starring Victor Sjostrom, Ingrid Thulin, and Bergman regulars Bibi Andersson, Gunnar Bjornstrand, and Max Von Sydow. Smultronstallet is a surreal yet engrossing film by Ingmar Bergman.

After waking up from a haunting nightmare that involved a man without a face falling down, clocks without hands, and a falling casket. Professor Isak Borg (Victor Sjostrom) wakes up annoyed by what had happened. Making things worse is that the aging, 78-year old doctor has to go to Lund to receive an honorary degree from a university. With assistance from his longtime maid Agda (Jullan Kindahl), he has to make a trip from Stockholm to Lund via plane. Instead, Borg decides to drive instead of having his son Evald (Gunnar Bjornstrand) waiting for him. With Agda choosing to stay at home, accompanying Borg is his daughter-in-law Marianne (Ingrid Thulin) as they go on the road. During their trip, Borg discusses his thoughts on intellectualism and everything else with Marianne who feels troubled by her estrangement towards husband Evald.

They stop in the woods nearby the old childhood home of Isak. There, Isak recalls a dream where his cousin Sara (Bibi Andersson) is collecting wild strawberries for Isak and his father (Ulf Johansson) when they were fishing. Sara was someone Isak dearly loved yet, she was often being flirted by his older brother Sigfrid (Per Sjostrand). Isak sees why Sara never became his love and instead, he married a woman named Karin (Gertrud Fridh) who has died a few years ago. After the dream, Isak came across a young, virginal woman named Sara (Bibi Andersson) who is hoping to make a trip to Italy with two young men Anders (Folke Sundquist) and Viktor (Bjorn Bjelfvenstam). Isak and Marianne decide to have them join along. After nearly crashing their car in a curve with another car, they meet a couple named the Almans, Sten (Gunnar Sjoberg) and his actress wife (Gunnel Brostrom). Sten's verbal abusive towards his wife's acting and her emotions drove Marianne to the edge as she later kicks them out.

After a stop at a gas station where they meet Henrik Akerman (Max Von Sydow) and wife Eva (Ann-Marie Wiman), they remember Isak since they've considered him to be a great doctor and gave the gas free. It is nearby the gas station where Isak, Marianne, Sara, Anders, and Viktor stop for lunch as Anders and Viktor have a heated discussion over God's existence. Also nearby is the home of Isak's mother (Naima Wifstrand) lives. Isak and Marianne make an unexpected visit as she is convinced that her entire family has pretty much abandoned her. She haven't even seen her great-grandchildren where she looks coldly towards Marianne. The meeting leads to emotional issues towards Marianne as the gang continue in their trip where Isak begins to have nightmares about strange events. Notably about an affair his wife had with a man (Ake Fridell) where Isak is forced watch in horror about what did he do for all of this to happen. Finally arriving at the university, Isak tries to deal with everything he had just seen.

While this film is more of a genre-bender than his previous film, Det Sjunde Inseglet (The Seventh Seal), the journey that Bergman takes through his observant direction and multi-layered script is a fascinating one. The result is a surreal drama of this man, who starts out in the first two minutes as grouchy and cold who then becomes haunted by memories and dreams of his own life. He is also confronted by the sadness in the estranged marriage of his son and Marianne where he realizes how his own behavior has passed onto him. Even in the memories and dreams, Bergman makes the audience aware of what is going on through Isak's own eyes. The audience is aware that Isak wants to correct things and forgive people like Sara and Karin yet, is helpless. The fortunate thing about this film is that Isak finds some ounce of redemption and development through Marianne, and the three young people he encounters including the free-spirit Sara. The result through its amazing script and Bergman's entrancing direction is a film that is wonderfully entertaining and thoughtful.

Cinematographer Gunnar Fischer's black-and-white photography, notably in the film's exterior sequences, is exquisite to reveal the wonderful road landscape of Sweden. Even the exteriors from the softness of the rich, childhood of Isak's life to the cold, dark look of the opening nightmare and the test/Karin's affair sequences. Production designer Gittan Gustafsson does excellent work in creating the differing atmospheres of Isak's childhood and the cold world he's surrounded by in his own home and nightmares. Costume designer Millie Strom brings a wonderful style to the clothing to the suit of Isak, the modern-day women clothes of Marianne, and the youthful energy that Sara, Viktor, and Anders wears. Editor Oscar Rosander does great work with his dissolve cuts to move the film’s sequence-to-sequence cuts while making the audience aware of the reality and dream world. Sound recorder Aaby Wedin also plays to the film’s atmosphere that is sometimes, surrounded by Erik Nordgren's suspenseful yet dreamy score.

The film's cast is definitely inspiring to watch with small performances from Ulf Johansson, Monica Ehrling, Lena Bergman, Gunnel Lindblom, Sif Ruud, and Yngve Nordwall as Isak's assorted family. Other minor roles like Ake Fridell as Karin's lover, Gertrud Fridh as Karin, Naima Wifstrand as Isak's mother, Gunnar Sjoberg and Gunnel Brostrom as the Almans, Ann-Marie Wiman as Eva Akerman, and in a small appearance, Det Sjunde Inseglet star Max Von Sydow as a gas station manager.

Per Sjostrand is excellent as Isak's flirtatious older brother Sigfrid while Jullan Kindahl is great as Isak's temperamental, loyal maid. Folke Sundquist and Bjorn Bjelfvenstam are great as the bickering young men who ask Isak about his own opinion on God while being amazed by Isak's own experiences. Gunnar Bjornstrand is in fine form as the cold, consumed Evald who cynicism about his own marriage and everything else reveals something deeper only until he sees his father.

Ingrid Thulin is amazing in her role as Marianne, Isak's distraught yet loving daughter-in-law who finds comfort in her father-in-law despite his own personality. Thulin is great as the older woman who tries to control things in the car while dealing with her own marital issues. In a dual role in playing different women named Sara, Bibi Andersson is great in her dual performances as the two women who would be different forms of affection for Isak. In the role of Isak's cousin, Andersson is more dramatic as this young woman who is trapped by Isak's flirtatious older brother and how she broke Isak's heart. In the role of the young Sara, Andersson brings more energy and spirit as a young woman caught in a triangle of sorts only to find a father figure in Isak.

The legendary Victor Sjostrom gives an amazing yet understated performance as the grouchy yet wise Professor Isak Borg. Sjostrom brings a lot of wisdom to the role as a man haunted by his own age plus the dreams and memories of his own life as he tries to deal with them in some way. When he is taken on this journey, Isak becomes a fuller character as he warms up to new people and hopes to mend the mistakes of his own life through his own family. Sjostrom's performance is a real highlight and one of the greatest in European cinema.

In the end, Smultronstallet is a witty, surreal, yet entrancing film from Ingmar Bergman. While it's not as good as Det Sjunde Inseglet, fans of road films will no doubt enjoy the journey and Bergman's narrative approach. Anyone new to Bergman will find this film as a nice place to start. For a film that blurs the world of reality and fiction, Smultronstallet is the film to see.

Ingmar Bergman Films: (Crisis) - (It Rains on Our Love) - (A Ship to India) - (Music in Darkness) - (Port of Call) - (Prison) - (Thirst (1949 film)) - (To Joy) - (This Can’t Be Happen Here) - (Summer Interlude) - Secrets of Women - Summer with Monika - Sawdust and Tinsel - A Lesson in Love - Dreams (1955 film) - Smiles of a Summer Night - The Seventh Seal - (Mr. Sleeman is Coming) - (The Venetian) - (Brink of Life) - (Rabies) - The Magician - The Virgin Spring - The Devil’s Eye - Through a Glass Darkly - Winter Light - The Silence - All These Women - Persona - (Stimulantia-Daniel) - Hour of the Wolf - (Shame (1968)) - (The Rite) - The Passion of Anna - (The Touch) - Cries & Whispers - Scenes from a Marriage - (The Magic Flute) - (Face to Face) - (The Serpent’s Egg) - Autumn Sonata - From the Life of the Marionettes - Fanny & Alexander - (After the Rehearsal) - (The Blessed Ones) - (In the Presence of a Clown) - (The Image Makers) - Saraband

© thevoid99 2012