·The first is a question of virtual and real. The fact that Angenis is terminally ill is the real deal. Bergman does not have general problems such as the old cause, symptom, treatment, etc., but only shows pain and death, which is a futility. When Angnis died and resurrected, Bergman made such illusory and miraculous things quite real and believable, without smearing surreal colors, this is turning the fiction into reality. Wandering between the real and the illusion has always been Bergman's masterpiece, and the earliest source should be "Sawdust and Fragment".
·There are two narratives, one is Maria’s entanglement with the doctor and her husband, the other is Karin’s entanglement with her husband, both of which are past events. Bergman inserted the narrative of the former before the death of Angelis, and The latter was inserted after his death.
With homogenous selfishness and indifference, Maria presents a posture of desire and use, while Karin is a posture of rejection and harm.
·Why use Bergman's narration and Maria's monologue at the same time? This is something I have not been able to understand.
·The rustling of clothes, the ticking of clocks and the whispers of people. Especially the first one, filled the movie space like air. It inspired me a lot.
· Karin broke a wine glass during dinner with her husband. Was there something wrong with the editing of the scene where her husband looked up? He felt that the movement of raising his eyes was left too much, almost one-third of a second.
·Ingrid Turin's pubic hair is golden? What kind of race is she? Celtic?
Bergman still uses some of his previous techniques, including what I call "close-up sports long shots," which I really like.
·Angonis maintained the relationship with the other women. This was shown at the beginning of the movie, and when she died, they tried to re-establish another relationship. They failed. They failed miserably. Bergman didn't want to abstract the movie. The four women took their bodies as a reflection of their spirits, and each body clearly pointed in one direction.
This is a good method, not obscure, not to play with the audience.
· Karin is me, Anna is me, Maria is me, and Agnes is me, even the fucking self-harming husband is me.
No one can get out of the movie unscathed.
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