At the beginning of the film, Agnes woke up in pain, looked at the sleeping Mary smiling, and wrote in his diary: "Early Monday morning, I was in pain, my sisters, and Anna took turns taking care of me." It is for the three people to reconcile I.
The story goes on. Agnes opened up memories of his mother in the sniffing flower: Mother was close to Mary but alienated from me. I was often in a state of irritability, boredom and loneliness. Only at a certain moment of despair and sadness, my mother and I touched each other and finally felt close. It can be seen that the relationship between me and my mother is universal separation and instant reconciliation, which to some extent hints at the final direction of the relationship between the three sisters in the play. So we set the sequence as separating I from the mother and reconciling I with the mother.
Then came the affair and memories between Mary and the doctor, and the memories ended in the twisting of her husband's suicide and Mary's refusal to rescue. In the middle of the night, Agnes was seriously ill, Karin and Mary were awakened by Anna. Agnes gasped in pain throughout the night, and didn't get better until early morning. She woke up with a smile, and the other three happily served for her, taking a bath, drinking water, combing her hair, and studying. It is for the three-person reconciliation II.
However, Agnes eventually got worse and died. The priest prayed, and the film then entered Karin's memories. In the repeated words of "all lies, all", she pierced the glass shards into her lower body and showed the blood to her husband. The memories ended, Mary came to seek reconciliation of the excessively deteriorated sisterhood, but Karin just refused and was upset. It is for two people to separate I.
Mary persuaded again, Karin hurriedly picked up the diary left by Agnes and read: "One day, I received the best gift of my life-unity, friendship, intimacy, love, I think this is what people say Wonderful.” The three reached a reconciliation in the memories and diaries. We set it as the three-person reconciliation III, but it was illusory, short-lived, and past.
Mary tried to touch Karin, but was rejected first; touched again, but did not reject. Mary caressed gently, Karin cried, and when she wanted to kiss, Karin yelled in resistance: "Continuous torture, just like in hell. I can't breathe, it's a sin." The series of the two Advancing and retreating finally led to a situation of separation, separating the two for the sake of separation II.
Since the movie is over half of the time, we can sort out the development of the separation and reconciliation sequence:
Separation from the mother I
Group 1: Reconciliation with three people I → Reconciliation with the mother I → Three people reconciliation II
Group II : Separation of two people I → Three Reconciliation III → Separation of Two Persons II The
first group of sequences is reconciliation and unpacking and separation, and the second group is separation and reconciliation. So far, the development of the film has left us with suspense. Where will the emotions between family members ultimately lead? But at the same time, it is foreseeable that every previous reconciliation will either appear in diaries or memories or be temporary and ominous.
After calming down, Karin and Mary sat down to discuss issues of property and whereabouts. After a brief calm, the two continued to confront each other. Karin said that she often thinks of suicide, no one loves, comforts, or helps, mocking Mary's frivolity, emptiness, and hypocrisy, and saying nothing can escape me. However, in a loud cry, she begged Mary's forgiveness when she rushed out of the room. In the music of Sarabande, the two touched each other and pour out silently, as if they had reached a reconciliation (two-person reconciliation I). However, the deliberately muted dialogue and Sarabande made this hard-won reconciliation look weird.
The climax of the film appeared in the "resurrection" of Agnes. The crying Agnes whispered quietly: "I can't go to sleep or leave you", but Karin and Mary refused one after another. Karin cruelly said "I don't love you." Mary touched first, but fleeing in fear in the embrace of Agnes, only Anna opened her clothes and embraced Agnes again like a Piet. We can see that the movie's heavy portrayal of this plot shows that the relationship between the three sisters is irreversibly disintegrated, desperate and suffocating, and there is no possibility of restoration. It is for the separation of three people I.
At the end of the film, the whole family sits together as if nothing has happened, discussing the property and Anna's dismissal indifferently. When leaving, Karin wanted to confirm the relationship with Mary, but once again encountered her careless and contemptuous sneer, so with the family's interpersonal and life once again on the right track, the relationship between the two returned to normal. . The separation of the two III can be described as a fateful ending.
The camera then turned to Anna reading the diary. Agnes painted a harmonious scene of four people together: "I want to firmly grasp this moment... There is nothing better than this to look forward to. This is happiness. Now I can Enjoy this perfect time and enjoy it for a few minutes. I am deeply grateful for my life, which has given me so much." The beauty and unity that can only appear in the memory reappears for the reconciliation of three people IV. The film ends. We should not ignore the role of this plot. As the final scene of the movie, even though it is a memory, it is also a reconciliation that once existed and happened, and will always be remembered by Anna, and may be experienced again in the future.
The sequence of the last part of the movie is as follows:
Two-person Reconciliation I→Three-person Separation I→Two-person Separation III→Three-person Reconciliation IV
The situation of reconciliation and separation is divided into half, which calls for the theme: instant beauty and eternal hell. As Sartre said, even if we are born hell and meaningless, we can still affirm our own value in the process of seeking freedom and liberation. I would like to quote the famous thesis in Aristotle’s Poetics (translated by Luo Niansheng): "A tragedy is an imitation of a serious, complete, action of a certain length... by inducing pity and fear to make this emotion get Cultivation." "Screams and Whispers" is a modern ancient Greek tragedy. Bergman used this to discuss the issue of existentialism. Its strong "Katasis" role inspires that this is not philosophy but art. Correspondingly, religious metaphors, paintings and other elements work together, so I won't mention them here.
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