The Passion of Anna

(In Memory of Bibi Andersson (1935-2019))

Written and directed by Ingmar Bergman, En passion (The Passion of Anna) is the story of a reclusive man who falls for mysterious yet grief-stricken woman after breaking up with a lover and dealing with the dissolution of his marriage. The third film in a thematic trilogy that of violence, isolation, and self-hatred in ordinary lives, the film is an exploration of an affair that would eventually turn into chaos. Starring Liv Ullmann, Max von Sydow, Bibi Andersson, Erland Josephson, Erik Hell, and Sigge Furst. En passion is a riveting yet haunting film from Ingmar Bergman.

Set in a remote island in Sweden, the film follows a man who is living alone following a divorce and dissolution of other relationships where his meeting with this grief-stricken woman would mark some unexpected change in his life as well as deal with some demons. It’s a film that play into a man who is living alone despite having a few friends as he meets this woman who is coping with the loss of her husband and son in a car accident as he gets to know her while being aware that something strange is happening around him and his friends. Ingmar Bergman’s script doesn’t have much plot as it’s more about this remote life in this island as it mainly follows the character of Andreas Winkelman (Max von Sydow) who is first seen repairing the roof in his house where this woman named Anna (Liv Ullmann) asks if she could make a phone call.

He would meet her again at a dinner with friends Eva (Bibi Andersson) and her husband Elis (Erland Josephson) as sees Anna as a woman that stands for the idea of truth. Andreas would deal with the growing schism in Elis and Eva’s marriage leading to a brief tryst with the latter and revelations about what is happening around them that includes Anna’s presence as someone who is passionate about faith. When Andreas starts a relationship with Anna, it goes well at first but things start to become questionable as the film also feature subplots relating to acts of cruelty against animals where Andreas saves a dachshund from being hanged. It would play into Andreas’ feelings about the world and whether Anna could really cope with these harsh realities.

Bergman’s direction does have some elements of style though much of his approach to compositions are straightforward. Shot on the Swedish island of Faro, Bergman would use the location to represent a world that is falling apart by these cruel events as well as this air of fervor and madness over some of these incidents. Bergman’s usage of the wide shots doesn’t just pertain to the locations but also in some intimate moments in some of the homes as it play into the growing discord between Eva and Elis as well as Andreas’ relationship with Anna late in the film. The usage of close-ups and medium shots as well as these precise compositions that are part of Bergman’s visual style add to the drama as well as this growing disconnect with reality. Notably in a black-and-white sequence where Anna dreams about being in despair and unable to help out as it relates to an execution. It’s a strange yet chilling sequence that matches up with the events of when the film was being made where Andreas and Anna watch television that relates to the turmoil of the late 1960s.

The direction also feature brief interludes as the actors playing the principle characters each comment on the characters they’re playing as it adds to this discussion of faith, isolation, passion, and dissolution. Even as it play into Andreas’ brief tryst with Eva who confesses her own issues with Elis while Andreas later copes with the barrage of animal cruelty around him as he would help neighbors bury the dead animals. The film’s climax doesn’t just play into Andreas’ frustrations with the world but also the violence that surrounds him as he starts to become unhinged by Anna’s passionate rhetoric about faith as it raises questions about everything she believes in. Overall, Bergman crafts a gripping yet evocative film about a man’s relationship with a grief-stricken yet passionate woman.

Cinematographer Sven Nykvist does incredible work with the film’s cinematography with its gorgeous usage of color and lighting for some of the interiors as well as some natural lighting for the exteriors as well as a stark black-and-white look for Anna’s dream sequence. Editor Siv Lundgren does excellent work with the editing as it is largely straightforward in terms of its approach to drama as it help play into some long shots with a few rhythmic cuts and montages that also add to the sense of discomfort looming throughout the film.

Production designer P.A. Lundgren does brilliant work with the look of the homes of the characters including some of the farms nearby Andreas’ home. Costume designer Mago does nice work with the costumes as it has some style into what Eva wears though it is mainly filled by sweaters and winter-like clothing. The sound work of Lennart Engholm is fantastic for capturing the natural elements of the film’s locations as well as the loud sounds of sirens and terror from the television that to the sense of despair in the film.

The film’s terrific cast feature some notable small roles from Marianne Karlbeck, Barbro Hiort af Ornas, Brita Oberg, Malin Ek, and Britta Brunius as women that Andreas and Anna would meet in their dreams, producer Lars-Owe Carlberg as a police officer, Sigge Furst as a neighbor named Verner, and Erik Hell in a superb small role as the farmer Johan Andersson as a man who is targeted by locals believing he is the one that is killing all of the animals. Erland Josephson is excellent as Elis Vergerus as a photographer who is trying to capture real emotions as he copes with his failing marriage but also his fascination towards Anna.

Bibi Andersson is amazing as Eva Vergerus as Elis’ wife who feels neglected and unimportant leading to a brief tryst with Andreas where she later copes with the effects of the affair. Max von Sydow is brilliant as Andreas Winkelman as a loner who is dealing with divorce and dissolution of his relationships as he’s trying to keep things to himself only to have a brief affair with Eva and later be in a relationship with Anna that later brings trouble and many questions about Anna. Finally, there’s Liv Ullmann in a phenomenal performance as Anna Fromm as a grief-stricken woman with a passionate rhetoric for faith who is a woman seeking truth as she’s troubled by her surroundings as well as the world in general leading to many questions if she really believes in what she’s saying.

En passion is a tremendous film from Ingmar Bergman. Featuring a great cast, Sven Nykvist’s gorgeous cinematography, a provocative premise, and its engrossing themes on passion, violence, humanity, and alienation. It’s a film that doesn’t provide any easy answers about human nature and their own faults as well as how one’s beliefs can distort their view on reality. In the end, En passion 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) – Hour of the Wolf - (Shame (1968 film)) - (The Rite) - (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 2019

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 Unbearable Lightness of Being

Originally Written and Posted at Epinions.com on 10/20/07 w/ Additional Edits & Revisions.

Based on the novel by Milan Kundera, The Unbearable Lightness of Being is the story of a Czech surgeon who deals with two relationships involving an innocent photographer and an artist as they both represent different ideas of what he wants. Directed by Philip Kaufuman and screenplay by Kaufman, Jean-Claude Carriere, and Saul Zaentz, the film is an exploration into a love triangle that occurs during the 1960s where they also endure political and social changes in the former Czechoslovakia. Starring Daniel Day-Lewis, Juliette Binoche, Lena Olin, Derek de Lint, Donald Moffat, Pavel Landovsky, Erland Josephson, and Stellan Skarsgard. The Unbearable Lightness of Being is a harrowing yet mesmerizing film from Philip Kaufman.

It's 1968 in Prague, Czechoslovakia as a surgeon named Tomas (Daniel Day-Lewis) spends his life flirting and sleeping with other woman including a nurse named Katja (Pascale Kalensky). Tomas also has a mistress named Sabina (Lena Olin) who works as an artist as she is the only real friend he has and understands him better than anyone. Then one day as Tomas goes to a country spa town to perform surgery, he catches the eye of a waitress named Tereza (Juliette Binoche) who shares his love for books and such. She had dreamed of going to Prague to make it as a photographer as she joins him. Knowing that Sabina has connections with the art world, she manages to give Tereza a job working for the press which she was happy though she noticed the chemistry between Sabina and Tomas. Thanks to Sabina, Tereza's work as a photographer makes her a success as they go to a party where Tereza makes Tomas jealous when he dances with his colleague Jiri (Tomek Bork) while making speeches about morality and insults towards the Russian politicians. During that night, they're at a club with the politicians where one of them told the band to play the Russian anthem that then becomes a rock n' roll number.

When Tomas writes an article to the press about the Russians, it unfortunately attracted the attention of the Russians. Despite just being married to Tereza, Tereza's knowledge of Tomas' love of sex and women makes her insecure as she tries to walk out only to catch a glimpse of the Russian tanks arriving.The Russian invasion in Prague is captured by Tereza’s camera as she sees Sabina leave for Switzerland. The two later join when Tereza has been caught photographing the event, even when she sends film rolls to foreigners. In Switzerland, Sabina caught the attention of a university professor named Franz (Derek de Lint). The two fall in love as they have their own affair that is great except for the fact that he's married. Tomas and Tereza arrive as Tomas gets a new job though Tereza finds that her love of photography is being stifled by having to do nude photographs for money and attention.  She contacts Sabina for some nude photography and vice versa as for a moment, they briefly bonded until Franz's arrival to tell Sabina the news that he's leaving his wife. Sabina, unsure of wanting a relationship with Franz since she also adores Tomas and Tereza, chose to leave Switzerland and Franz. Tereza also leaves the country to return to Prague with their dog Karenin as Tomas realizes he needs her as he returns to Czechoslovakia but with his passport now confiscated. 

Now in a new Czechoslovakia, Tomas tries to get his old job but his boss (Donald Moffat) told him that he couldn't unless he sign documents over the article he wrote. After an Interior Ministry official (Daniel Olbrychski) tries to get him to sign, Tomas ends up cleaning windows for a living while Tereza becomes a waitress at a bar. Befriending an engineer (Stellan Skarsgard), Tereza finds herself increasingly insecure with Tomas returning to old habits with women. In response, she meets with the engineer but suspects something is wrong. Turning to a former ambassador (Erland Josephson) about what had happened, Tereza's guilt forces she and Tomas to leave Prague for good to live in the country with their friend Pavel (Pavel Landovsky) his pig Mephisto, and his nephew (Pavel Slaby). It is there Tomas is forced to confront his demons, his life with Tereza, and his old affairs with Sabina.

While it's obvious that Kaufman, co-screenwriter Jean-Claude Carriere, and producer Saul Zaentz made some changes from the book in their adaptation to add eroticism to the story. The result is a fascinating drama about a doctor whose life and love for two women collide with his own reality in the backdrop of the Russian invasion in 1968. The film is really about a love triangle where all three characters love each other yet have troubling sharing one another. It's also the heart of film and story where they all have trouble sharing each other yet one when two bonds with one forced to watch, there's a sense of jealousy and confusion. It's the characters of Tomas, Tereza, and Sabina that drive the story.

The script by Kaufman and Carriere works in its structure and how the relationships are perceived. The first act is really about Sabina and Tomas with Tereza having to watch while marrying Tomas in a relationship where sex is something mysterious to her. In the second act, there's a scene that's really about Sabina and Tereza and their brief bond. Yet, with Tomas not really aware of what's going on, another observer appears in the form of Franz who doesn't really understand Sabina's role in the love triangle she appears in with Tomas and Tereza. When the third act arrives, Sabina is gone as the film becomes more about the fragile yet tender relationship of Tomas and Tereza and all of their faults. Essentially, the film is about relationships and how fragile they are with each character carrying a different trait.

Tomas is a man filled with charm and bravado who succumbs to habits with women that makes him unfulfilled emotionally. Tereza is a woman who is essentially a woman filled with innocence as she offers love but when it comes to sex, she doesn't really know anything while not wanting to expose herself physically. When she is forced to confront those demons, she becomes confused forcing Tomas to confront his own flaws. Then there's Sabina, she kind of represents the observer of the entire relationship. She’s the only one who understands Tomas' desire for women and Tereza’s insecurities as she tries to help her be confident. Yet, when she is confronted with things like love and security in the form of Franz, it's a world she's not used to since she prefers her own individuality. Therefore, she doesn't appear much in the third act until the end of the film.

Kaufman’s direction is top-notch for its observation and subtle approach towards the film's erotic moments. Whereas nudity is used to titillate or shock the audience, Kaufman does it with emotions where the most erotic moment doesn't have to be a naked woman but rather other body parts like the eyes or what's going on in that scene. In the more politically-driven scenes, the recreation of the invasion isn't shot in Czechoslovakia (due to its political climate at the time) but in France. Yet, the mix of stock footage and real-life footage shot in black-and-white almost made the film documentary-like. While a lot of the film was shot on location in France along with French soundstages and parts of Geneva, Switzerland. The film managed to give that feeling of oppression both physically and psychologically. Credit must go to Kaufman for not overplaying or under-emphasize the drama. Instead, he brings the characters to life and the story itself in what is definitely one of his strongest efforts.

Cinematographer Sven Nykvist brings some gorgeously shot sequences with his mastery craft with wonderful interior shots done with great intimacy. The exteriors are also notable from the lively look of Lyon as Prague in the first act along with the countryside that includes a shot on magic-hour in the third act.  Editor Walter Murch also brings his mastery with his wonderful cutting style that plays like a camera capturing the action. Murch's use of stock footage mixed in with recreated shots of the Russian invasion is also genius to convey the chaos as Murch's work is brilliant.  Production designer Pierre Guffroy definitely creates wonderful interior designs for the film including his recreation of Prague in the soundstages. Featuring paintings by another artist and a look that is very spacious yet intimate in the first half of the film, the look definitely changes to something more claustrophobic until in the later part of the third act where everything's natural. 

Costume designer Ann Roth helps with the film's differing look with the dark clothes that Tomas wears to the exotic lingerie Sabina wears, and the country-like dresses and city-like clothes that Tereza wears. Sound designer Alan Splet does wonderful work with the sound, notably the Russian invasion sequence to bring the layering of sounds from sirens, tanks, and everything that goes on. Music composer Mark Adler brings a soft film score to convey the drama of the Russian Invasion. The rest of the music is flourishing, lyrical piano music by Janacek that soars throughout the entire film.

Then there's the film's cast that is wonderfully superb with small performances from Anne Lonnberg as a Swiss photographer, Clovis Cornillac as a young man who harasses Tereza at a bar, Pascale Kalensky as Nurse Katja, Pavel Slaby as Pavel's nephew, and Bruce Myers as a Czech editor. Other minor performances from Tomek Bork, Daniel Olbrychski, and Erland Josephson as the ambassador are very memorable including Stellan Skarsgard as a shady yet charming engineer and Donald Moffat as the chief surgeon. Pavel Landovsky is excellent as Tomas' friend Pavel, a man who loves his pet pig Mephisto while giving Tomas and Tereza a home late in the film as he muses on the changing times. Derek de Lint is great as a Franz, a university professor who falls for Sabina but isn't sure about her quirks as he doesn't realize what kind of life she leads.

In her first American film, Swedish actress Lena Olin gives a magnificent, sensual performance as Sabina. Though her character is kind of a sexpot of sorts, Olin brings depth to the character as some of her more seductive appearance isn’t what she's not wearing but rather what she's showing. It's a brilliant performance from the actress who is truly a joy to watch. Juliette Binoche is amazing as the more introverted Tereza. Binoche displays an innocence and fragility to the character that is unsure about love and sex while being forced to confront her own failures and her relationship with Tomas. Binoche's performance is very strong and engaging while her scene with Olin with the camera is truly one of the most seductive and jaw-dropping for their emotional responses. Daniel Day-Lewis is in great form as Tomas, a charming, womanizing surgeon who seems to love women more than anything. It's also his downfall yet Day-Lewis brings a lot of wit and a sly face to the character that is a joy to watch. His scenes with Binoche and Olin, whether separate or together, are amazing to watch in how he manages to act with them. Even using a Czech accent, Day-Lewis brings a lot of authenticity to the character while remaining witty in his situations.

The 2006 2-disc, Region 1 DVD from Warner Brothers presents the film with a new, superior transfer that is an improvement over its previous DVD releases including the 1999 Criterion DVD. Presented on widescreen and newly superior sound. The only real negative of the DVD is that due to the remastering and superior film transfer, the three-hour film is split in two. After the first two hours are in the first disc. The film ends in a fade-out with the third hour opening very abruptly. Despite that huge flaw, the film definitely works to its original theatrical presentation. The audio commentary track by director Philip Kaufman, co-screenwriter Jean-Claude Carriere, Lena Olin, and Walter Murch is the same commentary from the original 1999 Criterion DVD. While all the tracks are done separately, they're all very informative. Kaufman, who dedicates his commentary to sound designer Alan Splet who died a few years prior, discusses a lot of the film's themes, the difficulty of trying to be faithful to the book while fawning over Juliette Binoche's performance. Jean-Claude Carriere discusses his friendship with Milan Kundera, the themes of the book, and the difficulty of the adaptation.

Olin's commentary is often on many of her scenes as she talks about some of the costumes, her friendship with cinematographer Sven Nykvist and the brief scenes that Erland Josephson had whom she had worked with in a couple of films for Ingmar Bergman. Walter Murch discusses a lot of the film's more technical pointers as he reveals he never goes to a film set during production and some of the editing techniques he did for the film in using two different editing machines before the age of computers. Along with the film's theatrical trailer in the 2nd disc, a 30-minute featurette entitled Emotional History: The Making of The Unbearable Lightness of Being features interviews with Philip Kaufman, Jean-Claude Carriere, Walter Murch, and producer Saul Zaentz. Kaufman talks about discovering the novel in 1984 and turning to Saul Zaentz to make it into a project. Bringing Jean-Claude Carriere to help write the script where they added some more erotic elements to the story with Kundera's permission.

Murch discusses the editing of stock footage intercut with recreated footage shot during production. He would later talk briefly about his friendship with Kaufman whom he knew during the early days of American Zoetrope in the early 70s with founders George Lucas and Francis Ford Coppola. Zaentz discusses the film's release in 1988 where in the U.S., it did OK despite rave reviews from critics while it was a bigger hit in Europe. Particularly a screening in Russia at the time Communism fell down where Kaufman is convinced the film took a small role in helping end Communism in Eastern Europe.

The Unbearable Lightness of Being is a phenomenal film from Philip Kaufman that features great performances from Daniel Day-Lewis, Juliette Binoche, and Lena Olin. Armed with a great supporting cast as well as some amazing technical work, the film is truly an intriguing and compelling film about a love triangle that occurred during some intense moments involving events in history. In the end, The Unbearable Lightness of Being is an exquisitely rich and sensational film from Philip Kaufman.

Philip Kaufman Films: (Goldstein) - (Fearless Frank) - (The Great Northfield Raid) - (The White Dawn) - (Invasion of the Body Snatchers (1978 film)) - (The Wanderers) - (The Right Stuff) - (Henry & June) - (Rising Sun) - (Quills) - (Twisted (2004 film)) - (Hemingway & Gellhorn)

© thevoid99 2015

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

Nostalghia

Directed by Andrei Tarkovsky and written by Tarkovsky and Tonino Guerra, Nostalghia is the story of Russian poet Gorchakov’s travel to Italy with a translator to research the life of an 18th Century composer. The film is an exploration into the world of nostalgia as a man finds himself in a strange world. Starring Oleg Yankovsky, Domiziana Giordano, and Erland Josephson. Nostalghia is a spellbinding yet abstract film from Andrei Tarkovsky.

The film is essentially the story of a Russian poet named Andrei Gorchakov (Oleg Yankovsky) who travels to Italy to do research on the life of an 18th Century composer as he finds himself longing to return home to Russia as he deals with homesickness and frustration. Traveling with a translator named Eugenia (Domiziana Girodando), who is smitten by him, as their relationship starts to fall apart during the journey where they encounter a church proceeding and later stop in a small town. At this small town where Gorchakov is doing his research, he meets a strange madman named Domineco (Erland Josephson) who feels alienated by his surroundings as he and Gorchakov bond. This would prompt Gorchakov to embark on a series of strange dreams about his home where he would want to go home.

The screenplay by Andrei Tarkovsky and Tonino Guerra is an exploration into the world of loneliness and seeking answers in a very foreign world as it’s told largely from the perspective of Gorchakov. Here’s this man that is intent on trying to finish research on this 18th Century composer where he doesn’t find the answers he’s looking for as he’s forced to look at himself. Even as he has to deal with all sorts of things that includes abstract dreams and images that recalls home where he would even do something the madman had been wanting to do. The screenplay doesn’t have much of a structure as it’s mostly driven by dialogue and action in order to tell the story of this man lost in his surroundings.

Tarkovsky’s direction bears a lot of his unique visual style that is filled with long shots, entrancing wide compositions where there’s slow close-ups, and gorgeous scenery involving elegant moments of nature. Yet, the film is also very intimate in the Tarkovsky presents the film as his camera is always fixated on his three central characters and their surroundings. A lot of the film takes place in Italy, with some scene shot in Russia, where Tarkovsky explores a world that is very different from Russia as the story involves a Russian being in Italy where the land is a lot stranger than he realizes.

The direction would also include these strange flashbacks that is shot in a monochrome photography style to establish the sense of longing for Gorchakov. Notably as Tarkovsky would have the actors be placed in a shot and then have them again in another position just as the camera is still moving. The scenes such as the madman’s speech in the town and Gorchakov carrying a candle to cross an empty pond show a sense of suspense of what could possibly happen as the results would feature some chilling moments. Overall, Tarkovsky crafts a very engaging yet provocative drama that explores the world of nostalgia and longing.

Cinematographer Giuseppe Lanci does fantastic work with the film‘s photography from the colorful yet entrancing look of the many scenes set in Italy from its landscapes and cities to the brown monochrome photography to play up the flashback scenes. Editors Erminia Marani and Amedeo Salfa do nice work with the editing by creating a mostly straightforward approach to the cutting with very few cuts while utilizing more stylistic flair in the abstract dream sequence. Production designer Andrea Cristani and set decorator Mauro Passi do wonderful work with the set pieces such as the hotel rooms that Gorchakov and Eugenia stay in to the decayed home that Domenico lives in.

Costume designer Lina Nerli Taviani does terrific work with the costumes where a lot of is casual with the exception of the dresses that Eugenia wear. The sound work of Remo Ugolinelli is brilliant for the layer of sounds that is created in many of the film’s intimate moments such as the church scene and the small pond inside a ruined home. The film’s soundtrack largely consists of the music of Ludwig Van Beethoven along with pieces by Richard Wagner, Claude Debussy, Giuseppe Verdi, and some Russian folk music as a lot of it is played on location to create a mood for certain scenes.

The film’s small but excellent ensemble cast includes a small performance from Patrizia Terreno as Gorchakov’s wife while Domiziana Giordano is superb as Gorchakov’s translator Eugenia who is frustrated by Gorchakov’s lack of feelings toward her. Erland Josephson is incredible as the deranged Domenico who would guide Gorchakov into some ideas that would impact the protagonist. Finally, there’s Oleg Yankovsky in an amazing performance as Gorchakov as he displays a great sense of restraint as a man lost in his surroundings and his work as he longs to return home.

Nostalghia is a remarkable yet entrancing film from Andrei Tarkovsky that features top-notch performances from Oleg Yankovsky and Erland Josephson. While the film, like many of Tarkovsky’s films, isn’t easy to watch due to its slow, methodical pace and its concept on art, faith, and nostalgia. It is still an intriguing film for the way it explores the world of man lost in a different world. In the end, Nostalghia is a stellar yet captivating film from Andrei Tarkovsky.

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

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

Saraband

Written and directed by Ingmar Bergman, Saraband is a sequel to 1973’s Scenes from a Marriage in which Marianne visits her ex-husband Johan to deal with family drama in their summer home. The TV film would be Ingmar Bergman’s final film of his career before his death in 2007 as he revisits two of his characters from Scenes from a Marriage as Liv Ullmann and Erland Josephson reprise their roles. Also starring Borje Ahlstedt, Julia Dufvenius, and Gunnel Fred. Saraband is an exquisite yet chilling drama from Ingmar Bergman.

After having not seen Johann for thirty years, Marianne decides to make a visit at his cottage home in the woods where the two discuss their daughters as one of them in Martha (Gunnel Fred) remains ill as she’s living at a nursing home. Marianne admits she isn’t sure about why she’s visiting Johann as she deals with family drama as she meets Johann’s granddaughter Karin (Julia Dufvenius) who is upset over her father Henrik (Borje Ahlstedt) who remains anguished over the death of his wife two years ago. As Karin bonds with Marianne and discusses her upcoming audition for a prestigious European conservatory as Henrik later asks his father for a loan to buy a new cello for Karin.

Johann would later give Karin a tempting offer that she’s unsure about while Marianne notices Henrik’s behavior whenever his wife is mentioned as she becomes concerned for Karin who reveals her decision to Marianne. A decision that would later cause family drama as Marianne wonders about Johann’s reaction to its aftermath.

The film is about Johann and Marianne coming together again for a brief moment as Marianne finds herself in the middle of family drama when Johann’s son is still in grief over his wife’s death two years ago. Meanwhile his granddaughter becomes confused over taking a prestigious conservatory as a cellist while wondering what will happen to her father who is already losing his grip on life. It’s a film that explores a family on the brink of chaos as a man’s ex-wife carefully tries to observe all that is happening as she watches a young woman she never knew and a former stepson she barely know be in anguish while her ex-husband tries to smooth things out despite the issues he has towards his estranged son.

The screenplay is told in 10 chapters with a prologue and epilogue told that is told from Marianne’s perspective as her character breaks the fourth wall to explain everything she is doing and its aftermath while the only time she breaks the fourth wall in the rest of the story is in the first chapter as she wonders why she’s visiting a man she hadn’t seen in more than 30 years. The rest of the story is about this family drama with Marianne observing everything that she sees while Johann tries to stay away from it though his advice for both Henrik and Karin would each have some consequences.

Ingmar Bergman’s direction is very engaging in the way he opens and closes the film as well as shooting everything with striking compositions. Notably as characters are at the edge of the frame on a wide shot or in intimate close-ups to express their emotions. It’s compositions that are typical of Bergman’s work yet they remain so potent in the way he shoots an image such as Karin running through the woods in a tracking shot. The direction is always saying something as it also plays up to the drama that unfolds as Bergman makes sure that something will happen leading to revelations that are unexpected. Overall, Bergman crafts a compelling yet intoxicating drama that explores the dynamic of a dysfunctional family as well as the enduring chemistry between an old couple.

Cinematographers Stefan Eriksson, Jesper Holmstrom, Per-Olof Lantto, Sofi Stridh, and Raymond Wemmenlov do nice work with the film‘s photography from the lush look of the Swedish forest exteriors to the colorful look of the interiors that recalls the work of Bergman‘s old collaborator Sven Nykvist. Editor Sylvia Ingemarsson does excellent work with the editing in utilizing mostly straightforward cuts to play out the drama. Production designer Goran Wassberg does terrific work with the look of the cottages Johann and Henrik live in to express their personalities.

Costume designer Inger Pehrsson does very good work with the costumes as it's mostly casual for many of the actors that appear in the film. The sound work of Anders Degerberg, Carl Edstrom, Borje Johansson, Per Nystrom, and Ulf Olausson is superb for the way objects and doors sound as well as some of the music that is performed on location. The soundtrack consists of largely classical music from Johann Sebastian Bach, Johannes Brahms, Anton Bruckner, and Robert Schuman to exemplify the world the characters live in.

The film’s cast is brilliant for the small ensemble that is created as it features a small appearance from Gunnel Fred as Johann and Marianne’s ailing daughter Martha in a flashback scene while Julia Dufvenius is great as the conflicted Karin who tries to cope with her father’s behavior as well as an upcoming conservatory audition. Borje Ahlstedt is excellent as Johann’s estranged son who is trying to deal with his wife’s death as well as the hostility he has towards his father.

Finally, there’s Liv Ullmann and Erland Josephson as both give incredible performances in their respective roles of Marianne and Johann. Ullmann brings a gracefulness to her role as a woman observing all around her while pondering about everything she had been through with Johann in the past. Josephson brings a reserved performance as a man trying to deal with all of the family drama as well as the fact that he is an admitted failure. Both Ullmann and Josephson display an amazing chemistry that is still potent to watch proving that they still got it.

Saraband is an extraordinary film from Ingmar Bergman that features top-notch performances from Liv Ullmann and Erland Josephson. While the film might be considered minor Bergman, it is still a cut above most dramas about lost love and family dysfunction as it’s a worthy sequel to Scenes from a Marriage. For a film that serves as Bergman’s finale, there is no better way for him to go out as he does it with class and grace. In the end, Saraband is a marvelous film from Ingmar Bergman.

Ingmar Bergman Films: (Crisis) - (It Rains on Our Love) - (A Ship to India) - (Music is 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) - 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 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)

© thevoid99 2012

Autumn Sonata

Written and directed by Ingmar Bergman, Hostsonaten (Autumn Sonata) is the story of a celebrated classical pianist who gets an unexpected visit from her estranged daughter leading to a confrontation between the two. The film is an exploration into the dynamics of mother and daughter who are driven apart by ambition. Starring Ingrid Bergman, Liv Ullmann, Lena Nyman, and Halvar Bjork. Hostsonaten is a chilling yet intense drama from Ingmar Bergman.

After having not seen each other for seven years, Eva (Liv Ullmann) has asked her famous concert pianist mother Charlotte (Ingrid Bergman) to visit for a few days at her home. Charlotte arrives hoping the visit would be great as she’s greeted by her daughter and son-in-law Viktor (Halvar Bjork) as also there is Charlotte’s youngest daughter Helena (Lena Nyman) who has become physically and mentally disabled due to an illness. The meeting becomes tense due to lingering tension between mother and daughter as both try to be civil until later on at night where the two vent out their frustrations towards one another leading to revelations about their fragile relationship.

The film is about a mother-daughter reunion that eventually turns sour due to resentments as it’s told largely in the span of one day with some flashbacks in the story. Especially when a daughter asks her mother to visit in hopes of a reconciliation yet the lingering tension between the two eventually seeps in as the mother deals with her own regrets and wonder if she’s guilty for everything. Even as the daughter reveals her own hatred for her mother and the fear that she was consumed by for many years. It’s a film that explores the troubled relationship between mother and daughter as the mother is grieving the loss of a friend while the son-in-law tries to deal with the tension as well as caring for an ill sister-in-law who is also plays to the tension between Eva and Charlotte.

The film’s unconventional screenplay allows Ingmar Bergman to create a film that is quite intimate but also intense in the way he frames the actors and have Viktor open the film talking to the camera as if he’s talking to the audience about how he met Eva as she is in the background writing a letter. The way Bergman frames his actors in a scene or how he stages the conversations is among the many highlights of the film. Including the way he uses close-ups to play out the emotions that occur where he waits for something to explode. Even as he would have scenes where characters talk to themselves or flashback scenes to help tell the story.

Shot on location in Norway during Bergman’s tax exile period in Sweden, the film has few exterior shots as a lot of it takes place inside where Bergman allows the camera to be shot from afar or up close to see how the drama will unfold. Notably as it includes a lot of his stylized close-ups that plays up to the quiet tension between mother and daughter that includes a scene where they both play Frederic Chopin’s Prelude No. 2 in A Minor to establish the different emotions of these two women. It’s a key scene that shows who these women are in their personas where both present unique interpretations of Chopin’s piece. Overall, Bergman has crafted a truly mesmerizing drama that explores the troubled dynamics between mother and daughter.

Cinematographer Sven Nykvist does an amazing job with the film‘s photography where many of the interior lighting schemes play to different color palettes to display the look of autumn while using a similar light with dashes of green and gray for its exterior scenes as Nykvist‘s work is a true highlight. Editor Sylvia Ingmarsdotter does excellent work with the editing in using a few dissolves to introduce the flashback scenes while a lot of the cutting is straightforward. Production designer Anna Asp does extraordinary work with the sets for the home that Eva and Viktor live in as it includes a wonderful room to display the personalities of the characters including Eva and Viktor‘s late child Erik.

Costume designer Inger Perhsson does wonderful work with the costumes to display the different personalities of the two women with Eva wearing plain clothes while Charlotte wears more stylish, posh clothing to display her personality. The sound of Owe Svensson is superb for the intimacy created in the film as well as the volume of the conversation that plays out throughout the film.

The film’s cast is brilliant for the ensemble that is created as it features appearances from Linn Ullman as the young Eva, Georg Lokkeberg as Charlotte’s old friend Leonardo, Bergman regulars Gunnar Bjornstrand as Charlotte’s agent Paul and Erland Josephson as Eva’s father Josef in the flashback scene. Lena Nyman is excellent as the physically/mentally-disabled Helena while Halvar Bjork is great as Eva’s husband Viktor who tries to keep his distance from the tension between Eva and Charlotte.

Liv Ullmann is incredible as the troubled Eva who tries to make some reconciliation with her mother only to feel disturbed by her own emotions over the neglect and resentment she’s faced as a child as it’s a truly terrifying role from Ullmann. Finally, there’s Ingrid Bergman in her final film appearance as Charlotte where Bergman displays a wonderful sense of grace but also regret as a woman dealing with her own life as a classical pianist as well as her own failings as a mother where Bergman also displays a realism that is chilling to watch.

Hostsonaten is a marvelous yet haunting film from Ingmar Bergman that features magnificent performances from Ingrid Bergman and Liv Ullmann. The film is definitely one of Ingmar Bergman’s most essential films of his career as he gives Ingrid Bergman one of her great performances of her glorious career. It’s also a film that explores the unique mother-daughter dynamic despite the film’s dark tone. In the end, Hostsonaten is an exhilarating film from Ingmar Bergman.

Ingmar Bergman Films: (Crisis) - (It Rains on Our Love) - (A Ship to India) - (Music is 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) - 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 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) - (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 2012

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

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