a ice
Childhood neglected by father's violent mother
Since then he has been disappointed with his family
▼
I recently met a Swedish friend
And carried out a patriotic business mutual (ga) blowing (liao)
Until this friend humbly said...
There are only two things Sweden can do in the art world
1. ABBA Band
2. Ingmar Bergman
ok i shut up
ABBA is not here, let's talk about Bergman
▼
Once, Inarido (the director of The Revenant) came to the Bergman House in Rhode Island, and he dared not sit down in front of an old chair... for fear of disturbing the long-sleeping film master. Heroic Spirit.
A tear fell from the corner of Lars von Trier ("Dogtown" director) as he recounted his impression of the master in his unique way.
It was Bergman who led Ang Lee into the movie. Years later, when he was filming Lust, Caution, Ang Lee was overwhelmed and left everything to fly to Rhode Island just to meet this enlightened teacher...
We have talked about too many myths in the film industry, only Bergman is the god of film history. Throughout his life, he created many works revolving around life and death, time, and interpersonal relationships, most of which are mainly in black and white. "Cry and Whisper" is one of the rare works in color.
The film uses strong red to create a tense atmosphere. The carpets, curtains, tables and chairs in the home...all red displays show the inner unease of the characters; even the fade-in and fade-out effects that play the role of scene switching use red to transition.
Bergman believes that red is the color of the soul, and red is also an extension of the inner anxiety and tension of characters.
In contrast to the outdoor environment, photographer Nikovest captured a lot of very textured light, and the overall tone is also a soft green. The contrast between the interior and exterior shows the division of the house's owner, Agnes. On the one hand, she yearns for the warmth of family affection, but on the other hand, she is uncontrollably confined to this nerve-racking building by the pain.
In this building lived the second sister Agnes and her maid Anna, who had been sick for a long time in China and Japan. Agnes' two sisters came to give her the last ride. Perhaps the waiting time was longer than expected. Both of them seemed impatient and could not insist on escorting her all night.
The three sisters have their own representative colors.
Agnes is a white symbol of purity, and she is always decorated with white roses.
Big sister Karin is black. During the meeting, she wore a black attire, representing a serious and repressed character.
The younger sister Maria is red, which is different from the red that symbolizes tension in the interior of the room. Maria was wearing a red dress to seduce the doctor when she met with the doctor. She has been the most favored since she was a child, and her personality is also the most cheerful. The red on her body represents enthusiasm.
Born as sisters, they are isolated from each other in character and life, and there is no intimacy at all. Whenever Agnes was seriously ill, the name she called was Anna, the maid who stayed at the bedside day after day, not her own blood relatives.
Representing death is Bergman's specialty. The most famous scene in The Seventh Seal is the game of chess with Death. The design in "Cry and Whisper" is more obscure, showing the approach of death from the perspective of "sound" and "shadow" respectively.
The clock is a recurring object in the film.
When Agnes woke up at night, the first thing he did was check the clock. Not just to see how much time you have left, or to wind up your own life?
Bergman constantly gives close-ups and remixes of the clock shots, and in the passages showing Agnes' ailment, the background sound deliberately emphasizes the "tick" of the passage of time, which is the footsteps of death.
In the final moments of Agnes' life, Bergman arranged for a light to shoot into the bedroom. The dazzling light just fell on Agnes' face, and this was the moment of death.
Accompanied by the heavy and rough breathing that makes people short-suffering, Agnes ushered in the thrilling struggle before death. Agnes was dead, and her last wish before her death did not come true, that is: the three sisters can be reconciled as before. In her most painful and helpless moments, her relatives and sisters stayed far away, and the only one who always guarded her was Anna, the maid who regarded herself as her own.
Agnes died and the beam went out. Death took her soul away, leaving only darkness.
With the combination of sound effects and light and shadow, Bergman shows us an invisible and intangible death.
One night, the sound of rapid breathing came from the room where Agnes was dead. Anna followed the sound, and saw Karin and Maria leaning against the door of the room, their expressions both startled and terrified.
Anna's first action after entering the room was to close the door. This door separates the two worlds of life and death, and inside the door is a place where the soul is truly exposed. Ana is Agnes' gatekeeper.
Karin came to the door to see the resurrected sister, she refused to believe everything. The damn person is dead, and she doesn't want to share the pain with her sister.
Then Maria, who was called in, was terrified. She forced herself to approach her sister, but slammed out the door at the last moment.
Agnes, who had blood relatives, was resurrected, but her sisters behaved so indifferently. The only person who is willing to believe in Agnes is Anna. The director specially designed the movements of the two to be Michelangelo's famous sculpture "Pietero" to further portray the invisible mother and daughter without blood.
The real test of Agnes' resurrection is the living. This scene is both absurd and shocking, as if it only existed in Anna's false dream.
The film directly hits something about human nature: the opposing elements of bourgeois hypocrisy and proletarian true love. But Bergman did not dig deep, but discussed more broadly: Are family relationships reliable or not, and are human relationships more dangerous?
After Agnes' death, the rest of the family members came to distribute the inheritance. They were the indifferent husbands whose elder sister would rather self-mutilate than have a relationship with her, and the useless husband whose younger sister was accustomed to cuckolding... Such a group of bourgeois even " The same thing" is not willing to leave it to Anna. He also mocked that Anna "wanted to be a good person" when Agnes was dying.
In the end Bergman arranged for them to say goodbye to Anna in a gentle manner that actually satirized the group's selfishness and apathy.
"Cry and Whisper" takes us once again to appreciate Bergman's cruelty, his many questions about life and the world.
Bergman received violent discipline from his harsh father as a child, and was once punished by being locked in an airtight closet for the whole night for wetting the bed; and his mother not only failed to protect her son, but condoned her husband's atrocities. , ignoring to a certain extent is even more mischievous.
The growth environment has created Bergman's traumatized interpersonal outlook, causing him to devote himself to women's arms to find the missing love in his adult life, but he has never been able to stay with one of them.
Although "Shouting and Whispering" ends with Agnes' warm diary, it seems to give the audience some kind of hope for life, but the problem of family affection has not been alleviated in any way, and the reconciliation between sisters only exists with Agnes. in the imagination.
This is Bergman's style.
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