The sound of the bell broke the tranquility of the early morning, and the mottled shimmering light warmly illuminated the garden, a little hope scattered in the world, and people were sleeping.
The bell rang again, as if to remind some of the last moments in life.
A close-up of the camera focuses on Agnie's pale, emaciated face - she's in great pain. She got out of bed and wrote in her diary - Monday morning, miserable! Anna and the sisters took turns looking after me. Where her sister appeared for the first time, her sister did not have a name, and "Anna" was particularly dazzling.
The bright red walls express bloody romance, the pure white princess-like clothes and skirts are as beautiful, pure and simple as an angel, the furnishings, furniture, mirrors and windows of the room are exquisite, carved with classical beauty, as if Magnificent and splendid palace.
In such a hall, the relationship between the three sisters Agni, Kalyn and Maria is not so friendly. Although there is an old saying that "there is no filial son before the bed for a long time", but why did they really do their best to save their sister? When Agni cried out in a heart-wrenching manner, the sisters were indifferent. From the panoramic composition, they could see the distance between the sisters and Agni, and only the servant Anna gave the warmth of the body and compassionate love to her. Agnie. The affection of the relatives is not as good as the sincerity and kindness of the servants. Isn't this the sadness in the affection of blood? The sorrow of suffering?
In the film, Bergman constantly frames the facial expressions of the characters with close-up shots. The details reveal the characters' pain, selfishness, indifference, hypocrisy and greed. Everyone in the audience can look directly into their hearts. The whispers of the soul behind the face brought shock to the heart. It was like God was staring at their behavior, "people are doing it, God is watching", and Anna was like a god who was sent to the world, and Anna saw all the actions of the two sisters.
When Agni returned to the light, she wept deeply like the Virgin Mary, and before she died, she still thought of saving Kaelin and Mary, but they ruthlessly and indifferently allowed this body to rot in pain. My own sister is disgusted. Only Anna, who turned into the "Virgin" under Michelangelo's statue "Mourning Christ", steadfastly stayed by Agni's side.
At the end of the film, back to the scene of Agnie walking and swinging in the garden with her sisters, Agnie at that time believed that even though the body was in great pain, the lovely people were around, and felt that all the pain dissipated and In front of the film, Agnie endured the hardships and the sisters' indifference and selfishness formed a sharp contrast, which brought a great shock to my heart, as if all the pure and beautiful imaginations dissipated in an instant, and I also wept endlessly.
The film arouses deep thinking. Life is like a practice. Some people suffer more than happiness, and some people feel more joy than sadness. We must constantly bear the pain, overcome difficulties, and perfect ourselves. When the vitality is about to exit, what do we want to keep? Maybe it's just a little love in the world, a blessing, a trace of warmth, maybe the last touch, the last hug, the last kiss, and the last "we will remember you". Each of us has Agni's dying wish - that the person I love the most in the world is with me and all my pain is gone.
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