I haven't watched Bergman's films for a long time, and it seems that I will never dare to comment on them easily. The introduction of many places has only one sentence. This film describes a middle-aged man who is divorced and lives a hermit-like life on a small island. In life, he dreams of an unknown woman all day long. Later, two women with sad love affairs broke into his world one after another.
This story is not so easy to explain, but I always ignore this intricate relationship. False is always false. Some people commented that it is metaphysics, and that kind of mystical humanistic concern. But I can only think that this is a love about fate and reincarnation. Maybe the middle-aged man was dreaming of an unidentified woman, but when he knew Anna's story, he entered Anna's life unknowingly, and even almost reproduced it all, but the ending was different.
Bergman's Faroe Island, when this St. Bergman, whom I regarded as a god, stood in front of his wooden house and watched Liv Uman slowly disappear, in his unfathomable thoughts, that The story of love, in his own cinematic language, is set in a world set in a lonely island, where there are waves, neighbors, cruelty, sex, but no love. He doubts and denies again and again, those women who have passed through his world, I don't know what to say presumptuously, I'm afraid there will be any disrespect, maybe what I should do is just worship.
Andreas, the man in Anna's own story, has nothing in common with the real man except his name, but his involvement, not just passive, is about the unknown In the end, it was not the people in the car that were spared, but the dream that was not destroyed.
In the dream described by Anna, the destruction and despair in the black and white images are the death penalty, the fire, the wreckage, and the escape.
Did he ever have hope for the world, I'm talking about Bergman, he will have his work diary in his interviews, can we spy on his fragility from these words, love, love, love, Love, love, that's what Bergman was looking for, but when he was in Faroe, the answer was still not there, but the search was pointless, he hugged his dog, tears streaming down the actor's eyes . Does he cry, we think those obscure monologues are his inner reflections, but we can't decipher them, we look at the code like we can't find the key.
The last thing Ana said to Andreas was, I ask your forgiveness.
But Andreas still got out of the car, and then we saw a wandering Andreas appearing bigger and bigger in the camera, but it became more and more blurred, those flowers and grains with vicissitudes, really Make your afternoon self dizzy, not visually. The background seemed to be the ticking of the second hand, and the man who had been indistinguishable, seemed to be crying, and I would rather believe, that was Bergman.
Their previous lives were quarreling, they were in love, it seems that Bergman is used to this state, we can see this kind of love in many of his previous works, but others can't get used to it, so Bergman feels himself Being a victim, he needed a shelter, he needed a space of his own, and he found Faroe Island.
Claustrophobic, afraid of the dark, afraid of sealed spaces, but the island is also a prison.
This time, they called him Andreas Wickman. The final subtitles, and then the Bergman-esque gongs and drums, are over.
Heh, heh, heh, heh, just sneering.
I remember the first contact with this film was in that room, NICO took out this disc, but I didn't touch it, the reason was a bit naive, because I had seen a history of Anna's eroticism that was no different from an A film.
Then a long time ago, she said it wasn't the same movie I watched.
I said oh.
It's spring, if you believe it.
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