Behind the great movies hides the weakest Bergman

Sam 2022-03-28 09:01:08

8.5 points or so. Shouts and whispers, outbursts and softness, seemed to separate Maria from the other two sisters. Is Bergman still partial to Uman so that's why? No, no, there is also a woman in the film - Anna, and Morrow said that Bergman's preference has always been the "Anna" in his play. The taciturn maid is the only redemption in the family's tragic memory, as if the director hoped to use it to mend his own. So after everything fell apart, we saw the most beautiful scene: three young and kind sisters playing on a swing in the woods under the sun, the smiling maid gently rocked them for them. At that moment time seemed to stand still, if at that moment time stopped...

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 blackmail," and his Tirelessly questioning God. Even the "Agnes Resurrection" scene in the details comes from his ten-year-old experience of being locked up in a morgue. The real Bergman I like exists in these four women, "I don't trust anyone, I don't love anyone, and I don't miss anyone", harsh, indifferent, and Anna is his secret room. The open gap is absolutely gentle. Like two sides of a coin, firmly attached to each other. (I love him 555)