Bergman's film notes "Screams and Whispers": April 20, 1971

1. First, it is a question of virtuality and reality. The fact that Angenis is terminally ill is the truth. Bergman does not have general problems such as the cause and symptoms of the disease. He only manifests pain and death, which is a futility. When Angnis died and resurrected, Bergman made such illusory and miraculous things real and believable. The living and the dead talked to each other without smearing surrealism. This is to turn the imaginary into reality. Wandering between reality and illusion has always been his specialty.

2. Angnis maintains the relationship with the other women. This is shown at the beginning of the movie. When she died, they tried to re-establish another relationship, but 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.

3. 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 Angelis’ death. Place the latter after his death. , Why put it where?
With homogenous selfishness and indifference, Maria presents a posture of desire and use, while Karin is a posture of rejection and harm.
Bergman must be inspired by his four-year-old brother to portray Karin's husband.

4. The light and harmony placed at the end is a trick of Bergman. It is indeed drowning, but judging from the chronological order of the story, the two sisters came to visit Angnis before the beginning of the movie. The three reunited in the castle and began their painful journey of torment.

5. Why use Bergman's narration and Angonis' monologue at the same time?

, 6, The rustling of skirts, the ticking of clocks, and the whispers of people fill the space like air, which is very inspiring.

7. Bergman still uses some of his previous techniques, such as close-up sports shots, moving between the face like a bow, with full tension.

8. Movies must directly appeal to the senses, must directly appeal to the senses, directly appeal to the senses, directly appeal to the senses, appeal to the senses, senses.
This movie is very thick. No one can get out of the movie unscathed.



The ears urge the bells to fall, the eyes are full of red, dying to reluctantly leave the lamp, why do you need to regenerate in this life, grow into a sorrowful house every night, be speechless and hard to feel cold, from the past to the third, it is sincere to share with the monarch .

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