The Silence (1963 film)

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

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

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

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

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

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

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

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

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

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

© thevoid99 2014

Winter Light

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

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

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

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

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

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

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

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

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

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

© thevoid99 2013

The Virgin Spring

Originally Written and Posted at Epinions.com on 4/16/07 w/ Additional Edits.

Directed by Ingmar Bergman and written by Ulla Isaksson based on an old Swedish ballad, Jungfrukallan (The Virgin Spring) tells the story set in medieval Sweden when a family learns their daughter has been killed and seeks revenge. The film revels on the idea of vengeance and spirituality as Bergman and his screenwriter explore these themes. Starring Bergman regulars Max Von Sydow and Gunnel Lindblom along with Birgitta Valberg, and Birgitta Petersson. Jungfrukallan is a harrowing, meditative film from the great Ingmar Bergman.

It's a typical morning for a loving, Christian family that lives in a farm as a young girl named Karin (Birgitta Petersson) is selected to bring candles to a church in a nearby town. Her mother Mareta (Brigitta Valberg) is excited for her young, virginal daughter as she gives her a gown made by 15 virgins. While Mareta admits to feeling haunted, Karin is too excited about what's going to happen on this day. Her father Tore (Max Von Sydow) is also excited though he wonders who will accompany Karin to the trip. Though their aunt Frida (Gudrun Brost) was suggested, Karin decides to take her foster sister Ingeri (Gunnel Lindblom). Ingeri, however, has a cynical feeling towards Christianity and such while worshiping the God Odin. The pregnant Ingeri accepts the job into accompanying Karin as they make their way towards the mountain path to the town.

Along the way, they stop at a nearby river bank where Ingeri claims that it's cursed as they meet a beggar (Allan Edwall). Karin chooses to go on as Ingeri goes to the home of the beggar where she sees something wrong and is haunted by the beggar's dark behavior. Karin continues to her trip where she's caught the attention of two herdsmen (Axel Duberg & Tor Isedal) and a little boy (Ove Porath). The herdsmen and the boy catch up with Karin where they stop for food and such. During the lunch, Karin talks about what she's doing in the mountains as her innocence wins over the herdsmen. Then suddenly, Karin is being attacked, raped, and later killed as Ingeri witnesses everything including the little boy throwing dirt over her body. The herdsmen and the boy later go to the home of Karin's family.

Seeking work and shelter, the herdsmen hopes to stay for the winter that night as Tore remains suspicious as does the family's priest Simon who haunts the mute, young boy. Especially since the boy's strange behavior towards their food has struck the family odd. Mareta begins to worry and when she sees the virginal gown of her daughter, she knows something is wrong. Tore worries as the motive for revenge occurs as Ingeri returns telling Tore what had happened. Tore and Mareta seek vengeance as they later find the body of their daughter as Tore wonders why has God done something like this.

While the film is simply a revenge tale of sorts, it's really about innocence and how its loss leads to vengeance and the question about God and his mysterious ways. Really, this is a film about spirituality and how it tests someone as devoted as a family who lives under the strict religion of their lord. Bergman's observant, eerie direction really plays to the film's theatrical tone. Particularly in whom Bergman chooses to focus on. In the first act, he focuses on the different personalities of Ingeri and most of all, Karin. Karin represents an innocence, naivete, and purity of a young girl who represents all that is good. Ingeri represents the opposite of Karin with her worship of the pagan god Odin and her look is very dark.

By the second act when Karin's innocence is taken away by an obscene act, the focus is on the herdsmen and the boy. The boy is haunted by what had just happened. In the third, the focus is on the parents and another sinful act that is committed. It is there, particularly in the end is where the question of where Tore questions on what he's done, why he is forced to take vengeance. It is also in this final moment of grief and confusion on why God does these things like taking a child and have her gone. While the film has a slow build-up that makes it a bit of flawed, it's the theatrical tone through Bergman's direction that really makes this drama one of the most intelligent. While audiences may agree or disagree on what Bergman is trying to say about spirituality and the way family plays their role on religion and each other.

Cinematographer Sven Nykvist brings an amazingly intimate yet enchanting look to the film's black-and-white photography. Some of the film's compositions and framing are just breathtaking with wonderful shots and lighting schemes on some of the characters to the close-ups and zooms to observe a scene. The late cinematographer's camera work is a real highlight to the film to convey how he and Bergman would compose such great scenery in some of the film's most harrowing moments. Production designer P.A. Lundgren does excellent work in capturing the intimate look of the living room inside the farm as well as the broken home of the beggar. Costume designer Marik Vos-Lundh helps convey the contrast of the different looks of character in the clothing from the elegant innocence of Karin to the torn, dirty dress that Ingeri wears.

Editor Oscar Rosander does some excellent work in giving the film an elliptical pacing, though flawed, works to convey the momentum and tension to the drama. Sound recordists Aaby Wedin and Staffan Dalin add to the tense atmosphere while in some of the film's more brutal, horrific scenes. There is very little sound only to let the audience see what's going on without having to hear the brutality. Longtime composer Erik Nordgren brings an old-school, folk sound with flutes to convey the sense of innocence of the times while creating a darker score for the film's second half.

The film's cast is wonderfully assembled with Tor Borong and Leif Forstenberg as two farmhands, Oscar Ljung as Tore's main farmhand Simon, Allan Edwall as a lonely beggar, and Gudrun Brost as Karin's aunt Frida. Ove Porath is haunting as the mute boy who is consumed with guilt over what had happened while Axel Duberg & Tor Isedal are great as the murderous herdsman with Duberg as the talkative one and Isedal as the mute herdsman. Bergman regular Gunnel Lindblom is great as the angry, abused Ingeri who is more complex character as a young woman who has been treated like dirt in her family hoping to find some redemption or something. Lindblom's performance is eerie in conveying the darkness and cynicism of her viewpoints on Christianity.

Birgitta Petersson is great as the angelic, innocent Karin with her glorious presence that represents a purity that is rarely scene in film. Petersson captures all the amounts of childhood innocence into her performance as she is kind and sincere though she has one scene where she slaps Ingeri. The fate of her character and Petersson's performance over the sinful act where’s been victimized is one of the most brutal moments to watch. Brigitta Valberg is also excellent as the haunted mother Mareta whose love for daughter is so great that the loss is just overwhelming. Valberg's heartbreak and yearning for vengeance is done with restraint that it shows that something this emotional doesn't have to be over the top. Max Von Sydow is just as great as a loving father who is forced to commit his own sins while becoming broken by what had happened. Von Sydow's performance is just as heartbreaking in the film's ending while his anger over what happened is just horrifying to watch.

Jungfrukallan is a powerful yet chilling film from Ingmar Bergman. Featuring a superb cast led by Max von Sydow, it's a film that is very provocative for discussing themes of spirituality and such in the sinful acts committed as well as challenge the way people play their roles in front of God. It's not an easy film to watch but still a rewarding one as Jungfrukallan is an extraordinary film from Ingmar Bergman.

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

© thevoid99 2012