I guess a large part of the reason for people who come into contact with this film is to understand its light and shadow presentation. The difference between light and shadow between reality and dream is also the highlight of the film. Technically, I don't know much about it, so I can only analyze it from the content.
These dreams are mostly real and believable: the hearse overturns, the coffin collapses, the tragic final exams at school, and the wife who openly commits adultery.
1. The macro-external manifestation of a lonely life
The first dream is a four-stage contact with things: clocks without hour hands, human faces without facial features, unmanned hearses, and oneself lying in a coffin. The use of coarse particles to shoot film (this is suitable for news and documentary) has instead produced an excessive sense of unreality, but the strong sunlight has given birth to gloom and horror. The reverse of light and shadow first creates a depressive atmosphere for the film, and this dream is withdrawn from life. Clocks without an hour hand symbolize that time is not well controlled. For most situations, there may be no difference between passing and not passing; faces without facial features are most of our encounters in life. The appearance of pedestrians on the roadside in a hurry has nothing to do with us; the driverless hearse is most of our reckless behavior, or interpreted as work that is not cared about; and the self in the coffin is our ultimate Home, you have to believe that you will always be pulled into the abyss at the right time. This macroscopic symbolic meaning sums up most of our life states. We are accustomed to it, but we are throbbing at the center of sudden externalization (if you can't remember the face, you won't let you see the face, etc.). From the perspective of the old man, this is also a completely lonely contact in his lonely life.
2. Love regrets in adolescence, self-dissection based on dreams
The second dream is the regret of love that began in Isak's youth. Why did his girlfriend suddenly become his brother's wife? I think even the elderly Isak still has no idea. The film takes the dream as the outer garment as the counter and the dissection of me as the introduction to externalize the cause of all this happening. On the surface, it is the brother’s active provocation and ganging up, but in essence, the two are separated in a fundamental sense. Picture bar:
I believe that these are indeed two fatal points in love. The man’s loftiness and reservedness can easily push the woman who needs love and romance to others. And if the already weak woman needs unlimited tolerance and accommodation, it is not surprising that she leaves. But Isak at the time did not understand. He classified this as a betrayal of love. This was a regret in his life, and even the fuse of his growing indifference, which was one of the reasons for the failure of his later marriage. He was more or less consumed with trust, and later he simply adopted a kind of tolerance that was fed up with nothing to do with his marriage. But it was also here, he showed his most open smile. "This is where wild strawberries grow"! It was the corner of the soul that was the most active and holy even though he was hurt. It is where his expectations and love are kept.
Third, the most worrying part of the middle age
The third one has obvious dream features, it is a bizarre and illogical two-part story: a sudden test and a blatantly cheating encounter with his wife. Everything was disturbed during the exam: I couldn't recognize words, couldn't use a microscope, and faced a trial that I didn't know. The wife's cheating is cold and painful: he has to forgive her, it is a heart-piercing thorn. The exam is related to the shadow of childhood, and what's more, this is the confusion about the unknowable and uncontrollable in the middle age. In his middle age, the work problems he faced were like exams, and he was nervous and uneasy; the marital problems he faced were like exams, and he was punished for failing to pass. Punishment is loneliness without emotion. Tracing back to its roots, the script of this movie was written during the unfortunate period of Bergman's marriage. At that time, he broke up with his third wife and still felt heartbroken. "It's a strange experience to love someone you can never get along with."
However, the film completely blamed this misfortune as his own responsibility. His wife was just a victim of his indifference: (This is the monologue after the wife had stolen the affair): I will go home and tell Isak about it now. I know him. What to say. He would say: "My poor girl, I feel sorry for you." As if he were God. Then I would cry and say: Do you really feel sorry for me? He would say: "Yes, very sad." Then I would cry harder and ask for his forgiveness. He would say: "You don't have to ask for forgiveness, there is nothing to forgive." But he didn't take him seriously because he was cold. Then, suddenly he would be gentle, and I couldn't help shouting that he was a lunatic, and his hypocrisy hurt me. Then he said to give me a tranquilizer. He understands all this very well. I told him that it was all his fault that I did it. He will look sad and say: "This is my mistake." But he didn't care about anything at all, because he was so indifferent. "This is no longer just confession, but stripping off one's protective clothing and exposing one's own blood dripping.
Fourth, the family finally chose affection and love when they were about to die.
The fourth dream broke through the barriers of the first three outside the incident. Sara took his hand and walked to the paradise island where her parents were. Going back to the root cause, Bergman had a painful argument with his parents at the time and was unable to talk to his father anymore. Even though he and his mother could be repaired temporarily, the old grievances have been long and deep. At that time, he was sure that his mother did not want to give birth to him: I was born from a cold womb, and my birth caused a physical and psychological crisis. The mother has always had a strong love and hatred complex for her poor dying son. Of course, after reading Bergman's autobiography, I don't think he is as bleak as Isak's family status. The complete repentance and complete self-blame of the dying old man had already joined the starring Victor element, but all this did not destroy him. I still remember that when I first got in the car, my daughter-in-law asked the old man: "What are the shortcomings of women?" Isak: "Crying, giving birth and talking bad things next door." But I still love you and don't regret being born because of you.
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