Cries & Whispers Comments

  • Lou 2022-03-26 09:01:10

    This picture is too beautiful, even Caravaggio in several places. Interestingly, similar structures such as "Sick-Healthy People", closed spaces, and character wrestling appeared in "Still in the Mirror" in 1961, "Silence" in 1963, and "Masquerade" in 1966. appeared again. The subject of discussion is still the loss of communication and discourse, and there are still inescapable "Bergmanian propositions"—love and alienation for mothers, hatred for brothers, and what he calls "emotional...

  • Francisco 2022-03-26 09:01:10

    This picture is too beautiful, even Caravaggio in several places. Interestingly, similar structures such as "Sick-Healthy People", closed spaces, and character wrestling appeared in "Still in the Mirror" in 1961, "Silence" in 1963, and "Masquerade" in 1966. appeared again. The subject of discussion is still the loss of communication and discourse, and there are still inescapable "Bergmanian propositions"—love and alienation for mothers, hatred for brothers, and what he calls "emotional...

  • Camden 2022-03-26 09:01:10

    The quietness and nature at the end, this uneasy confusion has always entangled you and me, and now I can't forgive myself, and I can't be the same as before. The distance between people can be easily developed under the master-level scheduling of Bergman. Even the best memories will be washed away by time. This dazzling color lighting seems to tell us that happiness is always there, and how many people can truly understand. Only a...

  • Scotty 2022-03-26 09:01:10

    Hamlet: "Did you see nothing?" Queen: "Nothing, but that's what I...

  • Elbert 2022-03-25 09:01:15

    Bergman is that every movie has to do something new, try new breakthroughs, right? There is only one scene in each person's memory, but enough details and plots are explained. It is really powerful, and the method of trying is also very bold. It was filmed before the Autumn Sonata, but the two have some similarities in the relationship between the characters and the plot. A bit of a...

  • Erich 2022-03-25 09:01:15

    Typical Bergmanian despair and indifference, but still cruel insight into human intimacy. Beginning with "Masquerade," it was deeply felt that Bergman poured all his pain into his film characters completely and unreservedly. The pain is too public and too naked, making people feel like they are stuck in their throats but addicted to...

  • Gerard 2022-03-25 09:01:15

    After watching the movie for so many years, I have never seen a feature of a movie that was shot like this. It's like all the movies I've seen before have...

  • Geovany 2022-03-25 09:01:15

    Shouting and whispering, there is a timeless symmetry between opposing nouns. Under the great indifference and alienation between people, Bergman always retains the warmth of a trickle under the glacier. Aesthetic attainments are at their peak...

  • Emma 2022-03-25 09:01:15

    Glad to watch Autumn Sonata with this one. It’s easy to see Haneke’s reference to Bergman by watching the two films, especially “The Piano Teacher” is basically the same: the poor mother-daughter relationship, the masochistic way of cutting private parts, and the cold and alienated character temperament. . When I wanted to come to Bergman to give "Piano Teacher" four stars, I must have thought: Oh, boy, this is what I learned. ....

  • Kyleigh 2022-03-25 09:01:15

    Hysterical shouts, life is too deep or too much pain; whispers as low as mosquitoes, life is too much secret. Every year at family gatherings, I am the loneliest at this moment, become the most dispensable child, want to cry but whimper silently; every time a lover has a tryst, I am the most anxious at this time, become the most humble existence, want to whisper but cry bitterly. We came from the same womb, but we were alienated from each other. How to make people believe that there is still...

Extended Reading

Cries & Whispers quotes

  • 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?

  • 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.