Fantasy will fantasize about the beautiful things in real life. However, if fantasy is not the correct mirror of reality, it will be broken and it might have a bad influence of mental health. From an interview director Bergman points out:
“Reality always makes sabotage to your fantasy, to your dreams. So, you have to take details of those reality but them into your universe. But those details must be absolutely perfect to fit into this little universe. And this universe is of course very limited. But if it's the right construction of it, it will be a perfect mirror of the reality around you.” (Bragg & Bergman, 1978)
In Persona , Ford (2012, pp. 38) claims that Elisabet's initial performance frighten Alma, and this fear includes Alma's worship of Elisabet. Alma believes this artist has a very strong spiritual strength and creativity. She tells her colleague:
“If Mrs. Mogler's silence and immobility are her decision, that shows great mental strength. I might not be able to cope” (Bergman, 1966).
Elizabeth and Alma become closer in the island at first. Alma tells Elisabet a lot. Although Elisabet does not respond in any language, only with a smile face. Alma grows more and more trust in her, and many of the previous fears are being eliminated . However, because Elisabet is an actress, her kind expression can be performed, maybe all the relaxed and pleasant atmosphere that Alma feels is created and fantasied by herself. In her mind, Elisabet is noble and beautiful, and she is not as perfect as Elisabet. She says:
"But we look alike. Don't misunderstand me. You are more beautiful...but your soul would be too big. It would stick out everywhere." (Bergman, 1966).
However, when Alma opens Elisabet's envelope, she gets her evaluation from the outside world. Alma learns that the woman she thought had grown so close to her sees her as a naive entertainer (Ford, 2012). Alma's previous adoration of Elisabet is certainly broken serious blows upon learning that she seems far less recognizably human and ethically advanced than Alma had apparently fantasied (Ford, 2012). At the same time, Ford (2012, pp. 41) reinforces that Alma is angry at her foolish action of trusting to Elisabet. Then Alma begins to be wary of Elisabet and even retaliates her. Alma accidentally breaks the patio, then she puts one of the glass debris on the ground and waits for Elizabeth to be hurt. At the moment when Elisabet finally weeps in pain, Alma is inside the house. Then the scene is accidentally broken by the scene itself.Persona appears to burn, as a growing hole appears in the middle of the screen. After some sequences, everything is as usual, but the reality in the film is changed. Elisabet appears in the house healthy.
Alma looks at Elisabet in the house (Bergman, 1966).
Elisabet goes to the window (Bergman, 1966).
Michaels (2018, pp.16) suggests that the view we watch the relationship and action between two characters is from a subjective perspective. Everything can be a lie in the scene. The connection process of the two scenes is artificially interrupted and does not continue , so maybe Elisabet's injury scene is only Alma's violent fantasy.
If the first revenge is her psychological fantasy, the second time will turn her anger into real violence. When Alma cleans up the dishes, she loudly accuses Elisabet of mocking her privacy and trust. She even wants to pour hot water on Elisabet. Although Alma later realizes that she is wrong, violence and revenge are already hidden in her heart and cannot reshape the intimate relationship again.
Alma almost poured hot water to Elisabet (Bergman, 1966).
In conclusion, Alma's violent tendency and behavior come from her finding that interpersonal relationships are inconsistent with her fantasy. At first, she admires Elisabet and regards her as her idol. After she reads the letter, she thinks she suffers a great betrayal, resulting in violence and behavior.
Reference:
Bergman, I. (Producer/ Director/ Screenwriter). (1966). Persona [Motion picture]. Sweden: Accent Film Entertainment.
Bragg, M. (Interviewer). Bergman I. (Interviewee). (1978). Melvyn Bragg interviews Ingmar Bergman [Interview tape]. Retrieved 2021, January 6
Ford, H. (2012). Post-War Modernist Cinema and Philosophy Confronting Negativity and Time. Australia: University of Newcastle.
Michaels, L. (2000). Ingmar Bergman ' s Persona . United Kingdom: Cambridge university.
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