2018 Blind Spot Series: The New Land

Based on the novels The Settlers and The Last Letter Home from The Emigrants novel series by Vilhelm Morberg, Nybyggarna (The New Land) is the sequel to the 1971 film The Emigrants that follows a Swedish family’s arrival in America where they hope to start a new life just as the country they arrived in is embarking into their own turmoil. Directed, shot, and edited by Jan Troell and screenplay by Troell and Bengt Forslund, the film is the second part of a two-part film series that follows a family trying to start anew in their new home. Starring Max von Sydow, Liv Ullmann, Eddie Axberg, Pierre Lindstedt, Monica Zetterlund, Hans Alfredson, Allan Edwall, and Peter Lindgren. Nybyggarna is an evocative and enchanting film from Jan Troell.

Picking up where the previous film left off in 1850 near the Chisago Lake in Minnesota, the film is about the life of a Swedish family settling in their new home as they deal with not just creating their new home but also maintaining their roots though ever-changing times. It plays into this family that is trying to start this new life in Minnesota having left Sweden years ago as they endure not just establishing their home but also deal with people changing and other circumstances. The film’s screenplay by Jan Troell and Bengt Forslund does follow the three-act structure yet there is so much that is happening as it play into the evolution of the Nilsson family led by Karl Oskar Nilsson (Max von Sydow) and his wife Kristina (Liv Ullmann). They would start off living in a shack with their children and Karl Oskar’s brother Robert (Eddie Axberg) where they struggle with the winter and other things including American currency which confuses Karl Oskar at first. The first act is about the family settling and Robert eventually leaving with his friend Arvid (Pierre Lindstedt) to go to California to find gold.

The second act is about the formation of a parish with Danjel (Allan Edwall) as more settlers from Sweden are coming as the Nilsson would have a slew of Swedish neighbors. Though it would be welcoming at first, it would later cause trouble in the third act as it would relate to the natives in a scene where Karl Oskar meets his old friend Jonas Peter (Hans Alfredson) who warns him about the natives. The second act is about Robert’s return after a two-year journey to California and back where he doesn’t exactly reveal what happened to him as it would play into what he had encountered as well as revelations about a world that is darker than he imagined. The second act also include Karl Oskar’s desire to wanting to be an American yet Kristina believes it will rob him of his identity just as their family is growing despite its risk for Kristina’s health. The third act is about not just this sense of change but also the emergence of hostile natives lurking as well as Karl Oskar coping with mortality.

Troell’s direction is engaging for the way it presents the world of mid-19th Century Minnesota as some of it is shot in areas in Sweden including Stockholm, Smaland, and Skane as well as some locations in America in parts of Minnesota, Wisconsin, and Colorado for some scenes in the desert. It does play into this sense of emergence of a world that is starting for the Nilsson family in the way Troell uses hand-held cameras to get their point of view of their environment as well as how homes were built back then. The scenes in the home are shot with close-ups and medium shots to maintain that air of intimacy as well as wide shots for its exteriors and its surroundings that would play into the confusion that Karl Oskar and Kristina would encounter when they go to a nearby town where the latter’s friend Ulrika (Monica Zetterlund) lives in as she would marry the preacher (Tom C. Fouts) whom she had met years ago when he helped them find their way to town.

Also serving as the film’s editor and cinematographer, Troell would maintain something that is natural such as the sequence involving Robert’s journey to California which includes a scene at night where he and Arvid try to find a mule that had gotten loose. The sequence would have Troell use some stylish jump-cuts and montages to play into the chaos that Robert encountered as well as other dizzying cuts for a scene late in the film as it relates to the Dakota War of 1862 that involved settlers in Minnesota and nearby states. Troell would also play into the sense of change that emerges as he would provide little hints of what Karl Oskar and Kristina would face as well as its ending that play into not just what Karl Oskar and Kristina’s children have become but also a sense of loss relating to where they came from in this journey that their parents endured. Overall, Troell crafts a majestic yet rapturous film about Swedish settlers making a new home as well as try to maintain their roots in the New World.

Art director P.A. Lundgren does brilliant work with the look of the home that Karl Oskar would build for his family and the evolution of what it would become as well as the look of the small town they live nearby as well as the desert town that Robert would go to in his journey. Costume designer Ulla-Britt Soderlund does excellent work with the costumes from the lavish hat that Ulrika would wear after her marriage to simpler clothes of the settlers that would evolve during the course of time. The sound work of Eddie Axberg and Sten Norlen do superb work with the sound in capturing the sounds of nature in its different locations as well as play into moments of suspense as it relates to the natives. The film’s music by Bengt Ernryd is amazing for its rich score filled with lush strings and some organ music to play into the sense of drama and spiritualism that looms throughout the film while Georg Oddner creates an unsettling yet eerie theme to accompany Robert’s journey to California with lots of percussive instruments to play into the dark aspects of his journey.

The film’s wonderful cast include some notable small roles from Per Oscarsson as Pastor Torner as a traveling Swede who arrives to Minnesota to lead a congregation, Tom C. Fouts as the American pastor Jackson whom Ulrika would marry as he would help everyone get settled, Agneta Prytz as the old woman Fina Kajsa who would live with her son who had emigrated many years earlier, Peter Lindgren as Kajsa’s son Samuel Nojd who deals with alcoholism to cope with his attempts to tend to his land, Halvar Bjork as another settler in Anders Mansson who helps out the Nilsson family, Pierre Lindstedt as Robert’s friend Arvid who joins him on the journey to California, and Hans Alfredson as the settler Jonas Petter as a settler who marries a native only to deal with the chaos that involves the natives warning Nilsson about what is to come. Allan Edwall is fantastic as Danjel Andreasson as a former preacher who has started a new life nearby the Nilsson though a falling out with Ulrika would complicate his relationship with Kristina.

Monica Zetterlund is excellent as Ulrika as a former prostitute who marries an American preacher as she would help out Kristina in finding things as well as to save money while being her own woman. Eddie Axberg is brilliant as Robert Nilsson as Karl Oskar’s younger brother who tries to forge his own path in life by going to California in the search for gold only to return to Minnesota a broken young man who encountered some of the darkest aspects of humanity and environments that would nearly kill him. Liv Ullmann is incredible as Kristina as Karl Oskar’s wife who finds some happiness in her new home as she also deals with her longing for Sweden while being worried about losing her roots and who she is where she turns to God for answers. Finally, there’s Max von Sydow in a phenomenal performance as Karl Oskar Nilsson as a man who has finally found his new home where he is determined to create a new life but he’s tempted to conform to the ideas of America only to struggle with some of its realities and later dealing with loss and his own struggles with faith.

Nybyggarna is a tremendous film from Jan Troell. Featuring a great ensemble cast, beautiful visuals, a mesmerizing music score, and stories of a family settling into their new home as well as try to maintain their identity. It’s a film that explores what a family from another country tries to do to find their place in the world but also struggling to adapt to this new world that they’re unsure if it belongs to them. In the end, Nybyggarna is a spectacular film from Jan Troell.

Jan Troell Films: (Here is Your Life) – (Who Saw Him Die?) – The Emigrants - (Zandy’s Bride) – (Bang!) – (Hurricane (1979 film)) – (Flight of the Eagle) – (Land of Dreams) – (Il Capitano: A Swedish Requiem) – (Hamsun) – (A Frozen Dream) – (As White as in Snow) – (Everlasting Moments) – (The Last Sentence)

© thevoid99 2018

2018 Blind Spot Series: The Emigrants

Based on the novel by Vilhelm Morberg, Utvandrarna (The Emigrants) is the story of a poor Swedish farming family who travel from a small village in Sweden to America in the hopes of finding a new life in a new world. Directed, shot, and edited by Jan Troell and screenplay by Troell and Bengt Forslund, the film is the first of a two-part film series that explore the life of a family who deal with the hardships of their homeland and the need to find something new. Starring Max von Sydow, Liv Ullmann, Eddie Axberg, Allan Edwall, Pierre Lindstedt, Hans Alfredson, Sven-Olof Bern, Aina Alfredsson, Ulla Smidje, Eva-Lena Zetterlund, and Monica Zetterlund. Utvandrarna is a rapturous and evocative film from Jan Troell.

Set in 1844 Sweden, the film revolves around a family of farmers who live in a small village as they decide to move to America in the state of Minnesota in the hopes of a new start. During the course of their long and arduous journey, they deal with so much that would challenge any kind of family in the course of a long period of time as well as this seaside journey from Sweden to America. The film’s screenplay by Jan Troell and Bengt Forslund does have this unique structure that play into the journey that Karl Oskar Nilsson (Max von Sydow) and his wife Kristina (Liv Ullmann) would take starting off in the Swedish province of Smaland in a small village where they try to tend the farm and its land that Nilsson got from his father which is unfortunately filled with large stones. Much of the first act is set in Sweden where the Nilsson family that include Karl Oskar’s younger brother Robert (Eddie Axberg) deal with not just the land of their family but also this sense of oppression among their authority figures including those who lead this strict idea of faith.

This idea of Lutheran faith and its rule would force Kristina’s uncle Danjel Andreasson (Allan Edwall) to leave town as he would join Nilsson and his family to go to America with a young farmhand in Arvid (Pierre Lindstedt) whom Robert met when they worked for a cruel farmer. The second act is set on the ship from Sweden to America as there is so much the passengers endure ranging from seasickness, bad food, horrible weather, and death. There is also question about whether the decision to leave Sweden was the right one as the third act is set in America where there is a sense of confusion over what to expect as well as the fact that they have to take another journey to the state of Minnesota where an old woman’s son is living at.

Troell’s direction is mesmerizing in the way he captures mid-19th Century life in Smaland as well as the way America looked in that time. While much of the film was shot in Sweden with the scenes in America shot at Lake Krageholm in Scania, Troell uses the location to showcase not just the sense of wonderment that is America but also the struggle that Nilsson and his family would endure early on. The first shot of Nilsson’s father Nils (Sven-Olof Bern) trying to pull a big stone out of the ground on a rainy day is an example of the kind of troubles Karl Oskar would endure as there’s something mythical into this ongoing struggle where all of these stones are in the family’s fields. Troell’s usage of the wide shots play into the scope of the landscape as well as the sense of struggle that Nilsson has to cope with in relation to his land as well as providing for his family. Even as Robert would be forced to work for a cruel farmer as Troell showcases not just the day-to-day grind but also the lack of appreciation Robert and Arvid would get as Troell would shoot them in close-ups as well as medium shots to show their cramped living quarters.

Also serving as the film’s cinematographer and editor, Troell aims for a naturalistic look into the film in not just the landscapes but also the scenes on the ship. With much of the direction emphasizes on hand-held cameras to get that air of realism, Troell would shoot the scenes on the ship as if he was a passenger to get an idea of the danger of that journey. His approach as an editor isn’t just using dissolves and jump-cuts but also some fade-outs to help transition parts of the story that is grand not just in its 190-minute length but also to play into the struggle these characters endure. Even in the third act where they arrive in America as the confusion is shown in the editing where it is like a fish out of water but also in their attempts to communicate with Americans for direction as they still have trouble trying to speak English. The film’s ending has Troell play into the possibilities as well as the end of this journey that Nilsson takes over his desire for a new start. Overall, Troell crafts an intoxicating and riveting film about a Swedish family going to America to start over.

Art director P.A. Lundgren does brilliant work with the look of the homes the Nilsson family lived as well as the interiors of the ship they would board on to America and some of the locations in America. Costume designer Ulla-Britt Soderlund does fantastic work with the costumes as it play into the period of the times where there isn’t a lot of color into the clothes that the characters wear that include the wooden clogs they would wear in Sweden. Sound mixers Eddie Axberg and Sten Norlen do superb work with the sound in capturing the sounds of the different locations in the film including the scenes on the ship as well as the natural sounds of nature. The film’s music by Erik Nordgren is wonderful for its orchestral-based score that appear in some parts of the film as it play into the drama with its soft strings as well as some intense musical moments that help add to the drama.

The film’s terrific cast feature some notable small roles from Tom C. Fouts as an American pastor who helps out Nilsson and his entourage find their destination, Ake Fridell as the cruel farmer Aron who severely hits Robert’s left ear, Gustaf Faringborg as the local vicar Brusander who feels threatened by Andreasson’s teachings, Aina Andersson as Nilsson’s young daughter Marta, Bruno Sorwing as the local sheriff whom Nilsson has to deal with in relation to Robert’s issues with Aron, Eva-Lena Zetterlund as Ulrika’s daughter Elin who befriends Robert on the way to America, Ulla Smidje as Andreasson’s wife Inga-Lena who copes with the journey on ship, Hans Alfredson as a fellow traveling Swede in Jonas Petter, and Sven-Olof Bern as Nilsson’s father Nils who copes with the injury that would cripple him as well as realize the lack of future for his sons and their families in Sweden. Monica Zetterlund is fantastic as Ulrika as a former prostitute with an awful reputation who joins the journey as she is someone that Kristina isn’t fond of until she proves her worth as well as being someone that is helpful. Pierre Lindstedt is superb as Arvid as a farmhand that Robert meets as he’s a simpleton who is aware of the cruelty he’s dealing with as he’s eager to want something more as he joins Robert on the journey to America.

Allan Edwall is excellent as Daniel Andreasson as a preacher whose ideas of faith gets him in trouble with the local vicar as he decides to go America with his family where he deals with his own tests of faith through the circumstances he endures. Eddie Axberg is brilliant as Robert Nilsson as a Karl Oskar’s younger brother who likes to read and is more fascinated by science and social ideals rather than farming as he is eager to go to America in the hope of doing something that matters. Liv Ullmann is incredible as Kristina as a woman who endures a lot in her journey hoping for something good as she is also a God-fearing woman that believes God will bring something as she later copes with her own challenges towards faith. Finally, there’s Max von Sydow in a remarkable performance as Karl Oskar Nilsson as a man who is given his father’s farm to tend only to deal with the same struggles of his father prompting him to go to America with his family as a way to start all over as he would also cope with the wonderment and confusion of his encounter with America.

Utvandrarna is a phenomenal film from Jan Troell that features great performances from Max von Sydow and Liv Ullmann. Along with its ensemble cast, gorgeous visuals, and a gripping yet somber story about a family’s journey from Sweden to America in the mid-19th Century. It’s a film that captures a moment in time of a family dealing with uncertainty in their homeland as well as wanting to see if they can find something new in what was then known as the New World. In the end, Utvandrarna is a tremendous film from Jan Troell.

Jan Troell Films: (Here is Your Life) – (Who Saw Him Die?) – The New Land – (Zandy’s Bride) – (Bang!) – (Hurricane (1979 film)) – (Flight of the Eagle) – (Land of Dreams) – (Il Capitano: A Swedish Requiem) – (Hamsun) – (A Frozen Dream) – (As White as in Snow) – (Everlasting Moments) – (The Last Sentence)

© thevoid99 2018

The Devil's Eye

Written and directed by Ingmar Bergman, Djavulens oga (The Devil’s Eye) is the story of Don Juan who is sent back to Earth by Satan in an attempt to seduce and take away the virginity of a vicar’s beautiful daughter. The film is a comedic story that relates to Satan wanting retribution over the beauty of this young woman by sending the greatest seducer of all-time to win her over. Starring Jarl Kulle, Bibi Andersson, Gunnar Bjornstrand, and Stig Jarrel. Djavulens oga is a witty yet mesmerizing film from Ingmar Bergman.

The film revolves around a revenge scheme made by Satan (Stig Jarrell) who asks Don Juan (Jarl Kulle) to seduce a beautiful daughter of a vicar and take away her virginity whose chastity has given him a stye in his eye. Don Juan agrees to do the task with the aid of a servant where he will be given 300 years off from his punishment but upon meeting the beautiful Britt-Marie (Bibi Andersson). The task becomes difficult as he realizes while things become more questionable where there’s a subplot of his aide in Pablo (Sture Lagerwall) who tries to seduce the vicar’s wife. It all plays into forces trying to create chaos and disrupt the ideas of faith as it is largely told in a humorous manner with commentaries by an actor (Gunnar Bjornstrand) who appears in between the acts. The film’s script by Ingmar Bergman isn’t just this growing fascination with faith but also temptation as it’s set in a modern world where ideas of faith are being questioned.

Bergman’s direction is stylish in some aspects of the film in the way not only presents Hell but also the fact that he takes a break from the story so that Bjornstrand can provide comments in a room while a frame of the film is actually playing in the background. The presentation of Hell itself is quite offbeat as Satan surrounds himself with guards from the late 18th Century while Don Juan is dressed up like a man in his time as it play into a sort of disconnect with the modern world. When Don Juan and Pablo arrive on Earth, they’re dressed in modern clothing as it is set in a Swedish countryside where Bergman does take stock in using a lot of wide and medium shots for the landscapes. The shots are also used in some of the key dramatic moments where the vicar’s wife Renate (Gertrud Fridh) is seen far in the foreground from her room and then walks to a door for a medium shot as it play into that sense of temptation.

Bergman’s usage of close-ups do say a lot to what Don Juan endures as it displays not just a sense of revelation for himself but also a world that has changed and how love is actually more complicated. Notably as Don Juan sees Britt-Marie’s own relationship to a man named Jonas (Axel Duberg) in one of its troubled moments. While Don Juan is aware of what he has to do, his attempts in tempting Britt-Marie becomes questionable from his own perspective where he copes with not just his own humanity but also faith itself. Even as Bergman would create comments about the fallacy of faith as if it play into the idea that God and Satan are toying with humanity in this scheme that Satan is creating. Overall, Bergman crafts a humorous yet provocative tale of Don Juan’s attempt to seduce a woman only to cause a further crisis of faith around himself and those he encounters.

Cinematographer Gunnar Fischer does excellent work with the film‘s black-and-white photography as it plays into the unsettling look of Hell as well as the wondrous look of the modern world in the scenes set at night with its usage of shadows and shades. Editor Oscar Rosander does nice work with the editing as it is straightforward with some stylish jump-cuts that emerge for a key character who watches over Don Juan. Production designer P.A. Lundgren does fantastic work with the look of Hell as well as the room of the actor that are in sharp contrast to the quaint home of the vicar.

Costume designer Mago does nice work with the costumes from 18th Century look of Satan‘s guards and the stylish clothes of Don Juan in Hell to the more casual, modern look of Britt-Marie. The sound work of Staffan Dalin and Stig Flodin is terrific for the way thunderstorms sound for scenes in the second act as well as some eerie moments set in Hell. The film’s music by Erik Nordgren does wonderful work with the music as it’s a mixture of low-key orchestral as well as lots of harpsichord-based music to play into the period of where Don Juan was alive at the time.

The film’s superb cast include some notable small roles from Kristina Adolph as an object of torment for Don Juan in Hell, Allan Edwall as an ear demon, Ragnar Arvedson as a demon that watches over Don Juan and Pablo, Axel Duberg as Britt-Marie’s lover Jonas, Georg Funkquist and Gunnar Sjoberb as Satan’s guards who are dressed as posh 18th Century figures, Sture Lagerwall as Don Juan’s aide Pablo who falls for the vicar’s wife, and Gunnar Bjornstrand in a fantastic performance as the actor who comments and introduces each act in the film. Gertrude Fridh is wonderful as the vicar’s wife Renata as a woman who becomes tempted by Pablo into having an affair while Nils Poppe is excellent as a vicar who would have an encounter with a demon while being tested over his faith.

Stig Jarrell is brilliant as Satan as a figure who is bothered by the stye in his eye as he hopes to exact some revenge on Britt-Marie for what he did to her while being this master of his own domain. Jarl Kulle is amazing as Don Juan as the famed lover who is a master in seducing women only to be challenged by Britt-Marie where he does something that is unexpected of him where he would make questions on himself. Finally, there’s Bibi Andersson in a radiant performance as Britt-Marie as a vicar’s daughter that is full of life and purity as someone that is preparing for life of her own while being entranced by Don Juan’s presence as well as some issues involving her own love life that play into the growing sense of cynicism and questions of faith.

Djavulens oga is a marvelous film from Ingmar Bergman. Featuring a great cast, a unique premise, and thought-provoking themes on faith and temptation. The film is a unique and humorous take on these ideas while being presented in a very unconventional fashion. In the end, Djavulens oga is a brilliant 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 Magician - The Virgin Spring - 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 2016

All These Women

Directed by Ingmar Bergman and written by Bergman and Erland Josephson, For att inte tala om alla dessa kvinnor (All These Women) is the story of a critic who is trying to write a biography on a cellist only to meet with the women in that man’s life. The film is essentially a parody of sorts of Federico Fellini’s 8 ½ where Bergman creates a comedy that plays into a man trying to get answers only for things to go incredibly wrong. Starring Harriet Andersson, Bibi Andersson, Eva Dahlbeck, and Jarl Kulle. For att inte tala om alla dessa kvinnor is a silly yet exuberant film from Ingmar Bergman.

The film is a simple story about the four days in the life of a critic who is trying to write a biography of a renowned cellist whom he hopes to make into someone even greater. Instead, he encounters the many wives and mistresses of the cellist named Felix where hilarity ensues and all sorts of craziness. Most notably as the critic Cornelius (Jarl Kulle) who is a man of great importance but is also full of himself where his encounter with the wives and lovers of Felix overwhelm him while his attempts to meet the man himself become futile. The film’s screenplay by Ingmar Bergman and Erland Josephson doesn’t really much of a plot as it favors more into Cornelius’ attempt to know who Felix is through his women as well as a few people who handle Felix’s business. The narrative moves back and forth into Cornelius’ visit as well as its aftermath where things don’t exactly go well for everyone.

Bergman’s direction is definitely a change of pace for the filmmaker who is often known for very serious and austere films that manages to question a lot. Here, he decides to take a change of pace and do something that is more fun and exuberant. Notably as it is shot largely in an estate where Bergman doesn’t really go for any kind of entrancing nor stylistic shots though he does create some unique compositions in how he places his actors in a close-up or a wide shot. At the same time, there is a looseness to the direction where Bergman just amps up the comedy where it does pay homage to the works of Federico Fellini where it is about chaos. The direction has moments of slapstick and scenes where the fourth wall is broken as it relates to Cornelius’ trying to make sense of everything. Yet, it does get overly silly where aspects of the story do get lost though it is probably what Bergman intended since the film is essentially something that isn’t very serious. Overall, Bergman creates a very lively and whimsical comedy about a critic’s attempt to capture a man’s life for a biography.

Cinematographer Sven Nykvist does excellent work with the film‘s colorful photography to play into the gorgeous look of the home as well as capture the vibrant colors of the costumes and some of the rooms. Editor Ulla Ryghe does nice work with the editing as it‘s stylish with some jump-cuts and other abrupt moments to play into the comedy. Production designer P.A. Lundgren does fantastic work with the look of the house as well as some of the rooms that play into the personalities of the characters. Costume designer Mago does brilliant work with the costumes in the design of the different dresses that the women wear to display their offbeat personalities. The sound work of Per-Olof Pettersson and Tage Sjoberg is terrific for some of the sound work and sound effects that is created for some of the film‘s comical moments. The film’s music by Erik Nordgren is wonderful as it’s mostly low-key in its string-based setting as much of the music consists of jazz and classical pieces.

The film’s marvelous cast includes a couple of notable small roles from Carl Billquist as a young cellist, Georg Funkquist as the estate’s head servant Tristan, and Allan Edwall as Felix’s business manager Jillker. In the role of Cornelius, Jarl Kulle is fantastic as this extremely smug and pretentious critic who gets more than he bargains for in his attempt to get to know the mysterious cellist Felix as that character is never seen in the film. Finally, there’s the seven wives and mistresses of the mysterious Felix as they give amazing performances with Barbo Hiort af Ornas as the talented Beatrice who wants to be accepted as a musician and Karin Kavli as the middle-aged Madame Tussaud who is Felix’s benefactor and supporter as she spends much of her time with Tristan. Mona Malm and Gertrud Fridh are brilliant in their respective roles as the very innocent Cecilia and mouthy Traviata as the latter is suspected of being the one trying to kill Felix.

Harriett Anderson is excellent as the maid Isolde as someone who knows what Felix wants as she is a very offbeat character that has her own quirks. Eva Dahlbeck is superb as the main wife Adelaide as the woman who sort of runs the house as she is also suspected of trying to kill her husband. Finally, there’s Bibi Andersson in a whimsical performance as the mistress Bumblebee who is a very lively woman that wears stylish clothes and carries a little dog.

For att inte tala om alla dessa kvinnor is an enjoyable film from Ingmar Bergman. While it is a minor work of his as it is a very off-the-wall comedy that sort of makes fun of Federico Fellini. It is still an interesting and lively film that plays into a critic being overwhelmed by the women in the life of a reclusive cellist. In the end, For att inte tala om alla dessa kvinnor is a worthwhile and stellar film from Ingmar Bergman.

Related: 8 1/2

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 - 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 - 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

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

The Sacrifice

Written and directed by Andrei Tarkovsky, The Sacrifice is the story about a man searching for faith and humanity just as World War III is about to happen. At a gathering in his home, the man begins to question into how he can restore peace in a troubled world. The film marks a return of sorts to Tarkovsky’s fascination with faith while continuing his theme with the flaws of humanity. Starring Erland Josephson, Susan Fleetwood, Allan Edwall, Gudron S. Gisladottir, Sven Wollter, Valerie Mairesse, Filippa Franzen, and Tommy Kjellqvist. The Sacrifice is a compelling yet mesmerizing drama from Andrei Tarkovsky.

It’s the birthday of Alexander (Erland Josephson) as he spends the day with his young son that he calls Little Man (Tommy Kjellqvist) where they meet up with the postman Otto (Allan Edwall) who has been invited to the party. Organizing the small party is Alexander’s wife Adelaide (Susan Fleetwood) as she’s joined by their teenage daughter Marta (Filippa Franzen) and their two maids in Julia (Valerie Mairesse) and Maria (Gudron S. Gisladottir). Also at the party is their friend Victor (Sven Wollter) as the day seems to be fine until noises of jet planes fly over the house. With the news that World War III has just begun, everyone starts to react about the news as Alexander ponders what he must do as he asks God for help.

Seeking answers in this horrific time where no one can leave home, Alexander asks Otto about what to do as he suggests to go to Maria’s home for answers. Alexander would discuss about memories about his mother as he is ravaged with sorrow over the end of the world. Even as he would do something that he thinks will save his family and friends from the world coming to an end.

What happens when the world is about to end due to the arrival of World War III where one is hoping to be spared from total catastrophe? That’s what Andrei Tarkovsky is asking in this film about a man dealing with a world that’s about to end as he begins to question ideas of faith and humanity. Even as his family and friends all start to have their own terrifying reactions to this news. This would prompt this man to figure out how to save everyone from this horror where he eventually finds the answer as it would take something big for him to make this sacrifice.

Tarkovsky’s screenplay has a more conventional structure than any of his previous films in the way many of the film’s plot-points and action would play out. The first act is about Alexander’s time with his son and the preparation for the birthday. The second act is about the news of World War III happening as most of the characters see it on TV where some just completely fall apart while others are just trying to figure out how to live these remaining days. This is where Alexander would try to figure out how to save everyone as he prays to God and eventually go to Maria for help. The third act is this strange meeting with Maria that is followed by a series of surreal of strange moments that would drive Alexander to do something that would be this sacrificial act.

Tarkovsky’s direction is truly hypnotic in the way he presents the film with many of his visual traits to help tell the story of a man living in what could be the last days of the world. From the long tracking shot where the actors are in a wide shot to walking closer in a medium shot as well as lingering glances of scenes of nature. The direction is fluid in its imagery from the way he shoots close-ups of paintings to these entrancing compositions of the way he frames his actors in a scene. Even in subtle moments such as Alexander lying in the grass as his son is playing around or the film’s final image that would say a lot.

Scenes such as the family running inside the house to hear the sounds of jet fighters flying over the house is framed with such grandeur as Tarkovsky is focused on an object to display the changes that is to come. Some of the surreal moments in the film’s second half involves Alexander levitating with Maria to establish the sense of longing and sorrow that he’s feeling. This would lead to a very climatic scene where it involves a long take with wide compositions to present something that is chaotic that mixes both beauty and horror. Notably as the film takes place in this Swedish island where there’s something serene about the place but also filled with despair. Overall, Tarkovsky crafts a ravishing yet emotionally-intense drama about the end of the world.

Cinematographer Sven Nykvist does a brilliant job with the film‘s photography from the very colorful shots of the daytime exteriors for many of the film‘s first and third act to the air of grey in the second act where everything starts to look very dark as it includes some monochrome shots of the world outside of the island. Editors Andrei Tarkovsky and Michal Leszcylowski do fantastic work with the editing by maintaining a very straightforward approach to the cutting while going for a more methodical approach to the pacing. Production designer Anna Asp does amazing work with the design of the house in the film as it plays as a character in the film as it’s a truly gorgeous house filled with lots of things.

Costume designer Inger Pehrsson does wonderful work with the costumes from the suits some of the male characters wear to the more stylish clothing that Adelaide and Martha wear. The sound work of Owe Svensson is excellent for the intimacy that is created in some of the film’s quieter moments along with the use of music to the loudness of the jet fighters passing by to display the sense of chaos that occurs in the film. The film’s soundtrack features music by Johann Sebastian Bach that is played in the opening and closing moments of the film along with Swedish and Japanese folk music that is played quietly in the film.

The casting by Claire Denis, Priscilla John, and Francoise Menidrey is superb for the ensemble that is created as it features some noteworthy small roles from Tommy Kjellqvist as Alexander’s young, quiet son Little Man, Filippa Franzen as Alexander’s teenage daughter Martha, Valerie Mairesse as the family maid Julia, and Sven Wollter as family friend/doctor Victor. Gudron S. Gisladottir is excellent as mystical Maria who tries to understand Alexander’s troubled mind. Susan Fleetwood is wonderful as Alexander’s wife Adelaide who is confused by Alexander’s behavior while being anguished over the world coming to an end. Allan Edwall is great as Otto the postman who gives Alexander ideas while having some great monologues about death and such to reflect the chaos that is happening. Finally, there’s Erland Josephson in a brilliant performance as Alexander from the monologues he delivers to the sense of torment he presents as he’s aware of the world that’s in chaos as it’s one of his most enduring performances.

The 2011 Region 1 2-disc DVD from Kino Lorber presents the film in an anamorphic widescreen present to preserve its 1:66:1 theatrical aspect ratio with 2.0 Mono sound and English subtitles. The first disc of the DVD features the film in its entirety while the second disc of the DVD is filled with a few special features. Among them is the documentary Directed by Andrei Tarkovsky.

Directed by Michal Leszczylowski, Directed by Andrei Tarkovsky is a documentary film about the making of The Sacrifice as well as exploring Tarkovsky‘s working methods. The 99-minute documentary also features narrated excerpts of Tarkovsky’s book Sculpting in Time told by actor Erland Josephson to express Tarkovsky’s views on cinema and the art of film directing as well as an interview with Tarkovsky‘s widow Larisa Tarkovskaya who was also Tarkovsky‘s assistant director for much of his career.

The documentary would explore many of Tarkovsky’s methods into directing scenes as he collaborates with renowned Swedish cinematographer Sven Nykvist for the film as Tarkovsky is seen directing his actors, with a translator, and discuss certain scenes. Tarkovskaya’s interviews reveal notes from Tarkovsky’s diary about the writing of The Sacrifice while the film also features rare interviews with Tarkovsky talking about his views on film. It’s a documentary that Tarkovsky fans must seek-out as it’s definitely an interesting film for anyone that is into the works of Andrei Tarkovsky.

Other special features for photo galleries for both The Sacrifice and Directed by Andrei Tarkovsky as well as trailers for films like The Return, The Rider Named Death, The Vanished Empire, and Ward #6.

The Sacrifice is an outstanding film from Andrei Tarkovsky that features an incredible performance from Erland Josephson. The film is definitely one of Tarkovsky’s more accessible films for the way he presents the idea of a world coming to an end as well as asking big questions about faith and humanity. It’s also a film that isn’t afraid to capture a world in chaos as it’s presented with an air of beauty that isn’t seen much in films. In the end, The Sacrifice is a grand yet exhilarating film from Andrei Tarkovsky.

Andrei Tarkovsky Films: Ivan's Childhood - Andrei Rublev - Solaris - The Mirror - Stalker - Nostalghia

Related: The Short Films of Andrei Tarkovsky - Voyage in Time - One Day in the Life of Andrei Arsenevich - The Auteurs #14: Andrei Tarkovsky

© thevoid99 2012