"Cries and Whispers" follows the method of Bergman's previous work "The Silence", starting with the ticking of clocks, using five different clock sounds with close-ups of hands and pendulums. Time is of extraordinary importance in the film. , Close-up pictures of clocks are interspersed in various parts of the film. Nick West’s photography exudes all the charm of the film, creating an “oil painting-like texture” on the screen. But in fact, the use of colors in the film is "unnatural", and the large color blocks with red as the base tone are too strong. However, this "shortcoming" fits the film's inherent needs. Color is related to the character's psychology and emotions, so those pictures that usually appear artificial and blunt are particularly appropriate in the film. Bergman described in an almost naturalistic way that terminal cancer patients are step by step towards the end of their lives in debilitating and severe pain. For this reason, he must use beautiful pictures and bright colors to reconcile them, so as not to make people fall into the right. The fear of death and the despair of life. The dead Agnes and her diary tell of the beauty of an ideal life, which makes the scene of the three sisters and Anna walking in the forest covered with golden leaves at the end of the film even more touching
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Cries & Whispers evaluation action
2022-01-11 08:02
Extended Reading
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Bianka 2022-03-15 09:01:05
[Beijing Film Festival Screening] The memories of the three sisters, the women caught in emotional entanglement, the rift between them cannot be made up. There is also a maid, very virgin. The red transition, the dead woman is resurrected, and the obsession of the sisterhood compounding finally ends up in nothing. Doctors, bishops, husbands, men are full of hypocrisy. Dull and lethargic.
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Demarco 2022-03-27 09:01:15
Everywhere is red representing irritability and desire, and each female-centered drama is accompanied by the opening and closing of scarlet. The clock represents time and expedites the demise of life. No matter what, we've all spent a full and happy afternoon with the people we love, and that's enough.
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David: Come here, Marie. Come. Look in the mirror. You're beautiful. Perhaps even more than when we were together. But you've changed and I want you to see how. Now your eyes cast quick, calculating, side glances. You used to look ahead straightforwardly, openly, without disguise. Your mouth has a slightly hungry, dissatisfied expression. It used to be so soft. Your complexion is pale now. You wear makeup. Your fine, wide brow has four lines above each eye now. You can't see them in this light, but you can in the bright of day. You know what caused those lines?
Maria: No.
David: Indifference. And this fine contour from your ear to your chin is no longer so finely drawn - the result of too much comfort and laziness. And there, by the bridge of your nose. Why do you sneer so often? You see that? You sneer too often. You see it? And look under your eyes. The sharp, scarcely noticeable wrinkles from your boredom and impatience.
Maria: Can you really see all that there?
David: No, but I feel it when you kiss me.
Maria: I think you're joking with me. I know where you see it.
David: Where?
Maria: In yourself. Because you and I are so alike.
David: You mean in our selfishness, coldness and indifference?
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Maria: You've changed. Is there someone else?
David: There always is. Besides, I thought the problem didn't interest you.
Maria: It doesn't.