Ingrid Thulin

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Three women in a maternity ward reveal their lives and intimate thoughts to each other.

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At the height of his international acclaim, Ingmar Bergman followed two meditations on death, The Seventh Seal and Wild Strawberries, with an examination of the mystery and pain of birth. This intimate chamber drama, set in a maternity ward, follows the emotional crises of three women as they grapple with motherhood. Another major success for the director that was also recognized for its exquisite performances by Ingrid Thulin, Eva Dahlbeck, and Bibi Andersson, Brink of Life is one of Bergman’s most brilliantly nuanced explorations of the inner lives of women.Read More »

It is a hot and muggy summer’s day in Näsviken, a small community at the edge of logger country Sweden. Barely surviving, the run-down hostel has been turned into housing for alcoholics in the county. In the midst of this, a young woman spends her days.Read More »

Agnes (Ingrid Thulin), daughter of the goddess Indra, has come to Earth to learn about what it means to be human. She meets many people in her journey. The figures that guide her most are Alfred (Uno Henning), an officer who becomes a doctor; Axel (Allan Edwall), the lawyer that she weds, and the poet (Olof Widgren) who may be the author of her dreams. What she observes and experiences makes her pity mankind.Read More »

PLOT:
Jan fights impotence (literal and symbolic) and anguished childhood memories in a decadent Swedish castle where risqué parties and daring scenes defy 1960s’ movie censorship, reaffirming the ground-breaking role of Swedish films in helping advance adult, sexually concerned themes in international cinema.Read More »

from rogerrobert.com
The hero of the film (Yves Montand) is a Spanish citizen who has been engaged ever since the war’s end in a variety of underground anti-Franco movements. He is part of a network that moves people and information in and out of Spain, prepares reports, calls general strikes, prints propaganda newspapers and does everything else that seems to be indicated. But the members of the underground are weary; they subscribe to political dogmas that no longer seem relevant, except to a few of them; they can show few tangible results.Read More »

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With this spare chamber piece, set in an empty theater, Ingmar Bergman returned to his perennial theme of the permeability of life and art. Lingering after a rehearsal for August Strindberg’s A Dream Play (a touchstone for the filmmaker throughout his career), eminent director Henrik (Erland Josephson) enters into a frank and flirtatious conversation with his up-and-coming star, Anna (Lena Olin), leading him to recall his affair with Anna’s late mother, the self-destructive actress Rakel (Ingrid Thulin). The sharply written and impeccably performed After the Rehearsal, originally made for television, pares away all artifice to examine both the allure and the cost of a life in the theater.Read More »

Synopsis:
Greg Moore, an American journalist visiting Prague with his girlfriend Mira is found dead. However, he’s actually only temporarily paralyzed, but the coroner fails to realize this and proceeds to prepare him for the autopsy. While Moore awaits his doom, he tries to recollect what has happened to him. It all starts when his girl disappears. He asks his friend, a local journalist, for help. They discover that this was just the latest in a series of disappearances of young pretty girls in the area. Their investigation leads them to a strange high profile private club, whose affluent members practice odd ritualistic orgies and bizarre dark rites.Read More »

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This brooding, operatic movie about Nazism makes Cabaret look like wholesome family fare. The family in The Damned is a symbol of German society circa 1934. The Krupp-like steel magnate Baron von Essenbeck represents the spineless establishment. The Nazis kill the baron, then frame one heir apparent, a socialist (married to the stunning Charlotte Rampling). A bearish, boorish Essenbeck representing the SA, the Nazis’ early goon squad, takes the reins. But Hitler murdered the SA in the 1934 “Night of the Long Knives,” providing The Damned with its bravura action scene, a Nazi massacre at a gay SA orgy. The winning Essenbeck is the murderous, pedophilic, transvestite, mother-rapist Martin (sharp-featured Helmut Berger), who represents Nazism. Though he’s better in director Luchino Visconti’s 1971 Death in Venice, Dirk Bogarde is classy as Martin’s stepdad. The Damned got an Oscar screenplay nomination, and Vincent Canby called Berger’s Martin “the performance of the year.”Read More »

Synopsis
In the hippie era, the motto used to be “never trust anyone over 30.” In this geriatric romance, the motto might be amended to read “never trust anyone under 60.” Still sprightly and interested in life though they are in their 70s, the two lovers in this film are confined in an unsympathetic “rest home” by their relatives and are only able to meet rarely in a camper loaned to them by some black immigrant workers. When the staff at the home get wind of their affair, they take vigorous action to try and “calm them down” simply to reassert their deadening control over them. Eventually the two of them end their romance, but the woman escapes the rest home and finds freedom in the company of the immigrants.
~ Clarke Fountain, All Movie GuideRead More »