With Thirst (1949), Ingmar Bergman began to display an astonishing technical virtuosity and control over the medium of film. A crosshatched, multilayered narrative, sewn together with fascinating side trips and flashbacks, Thirst was adapted by theater critic (and Bergman mentor) Herbert Grevenius from four controversial short stories written by famed Swedish stage actress Birgit Tengroth, and moved Bergman even further away from his theatrical origins. Simultaneously a portrait of a decaying marriage and a dreamlike journey through various characters’ tragic pasts and presents, the film evinces a newfound assurance, both in storytelling complexity and visual invention. Notoriously hard on his own work, Bergman himself was even able to later grant, “The film does show a respectable cinematographic vitality. I was developing my own way of making movies.” Continue reading
Marianne, some thirty years after divorcing Johan, decides to visit her ex-husband at his summer home. She arrives in the middle of a family drama between Johan’s son from another marriage and his granddaughter.
August 4, 2005
Ingmar Bergman is balancing his accounts and closing out his books. The great director is 85 years old, and announced in 1982 that “Fanny and Alexander” would be his last film. So it was, but he continued to work on the stage and for television, and then he wrote the screenplay for Liv Ullmann’s film “Faithless” (2000). Now comes his absolutely last work, “Saraband,” powerfully, painfully honest. Continue reading
imdb plot summary:
A seemingly happy Swedish housewife and mother begins an adulterous affair with a foreign archaeologist who is working near her home. But he is an emotionally scarred man, a Jewish survivor from a concentration camp who found refuge in the U.S.,and, consequently, their relationship will be painfully difficult. Continue reading
This made-for-television film constituted Bergman’s first production of Strindberg’s A Dreamplay – a play he would revisit three times more. Gunnar Ollén’s Malmö crew was behind this, for its time, prestigious and costly theatre production, involving more than 40 actors and no less than 75 extras.
In this production, critics thought they discerned a change in Bergman’s style of directing. Ebbe Linde in Dagens Nyheter:
‘I think one can differentiate between an old and a new Ingmar Bergman: an old sensational one from the beginning of his career and a subdued, demanding one, now at his peak. That his approach implies a deepening of his art seems clear to me, at the same time as it might limit his geographical appeal.’ Continue reading
“Heavily artistically infused this chamber piece from Bergman lauded numerous international awards for both the film and the performances. It’s beautiful imagery from Sven Nykvist’s magnificent cinematography, its high level of pretension and its inability to be comprehensible have given it a unique place in cinema history. “Persona” can causes a myriad of personal reactions. Perhaps its greatest triumph is forcing the viewer to allow “it” to penetrate… to open yourself to its deeply felt expressions and perhaps have it touch upon your own. “Persona” is rife with universal emotions; pain, love, desire, regret, longing. This is a film that can be viewed multiple times garnering more from each visit … or less, depending on how you allow it to brush your subconscious… that part of you filled with emotions which you rarely, if ever, openly discuss. Continue reading
After having neglected her children for many years, world famous pianist Charlotte visits her daughter Eva in her home. To her surprise she finds her other daughter, Helena, there as well. Helena is mentally disabled, and Eva has taken Helena out of the institution where their mother had placed her. The tension between Charlotte and Eva only builds up slowly, until a nightly conversation releases all the things they have wanted to tell each other. Continue reading
Set in beautiful 14th century Sweden, it is the sombre, powerful fable of wealthy land-owning parents whose daughter, a young virgin, is brutally raped and murdered by goat herders after her half sister has invoked a pagan curse. By a bizarre twist of fate, the murderers ask for food and shelter from the dead girl’s parents, who, discovering the truth about their erstwhile lodgers, exact a chilling revenge Continue reading