The film tells about the short time of the three sisters and their memories of the past. The second sister, Angrass, has been seriously ill for many years. She did not receive much love from her mother when she was young, but she loved her sisters deeply. Under the state, she is not very good at expressing this kind of love, and Anna, the servant who has taken care of her for 12 years, has become her most heartfelt "relative". The eldest sister Carlin is a woman with a very cold expression. Her serious image runs through the whole film. In the end, she will find out that she has been living in fear, she is afraid of anyone's approach, and her sister's "hug" has become a hoax. . The younger sister Maria is a beautiful young woman, but she is lonely in her heart, wandering between her lover and her husband, like a canoe floating on the sea, unable to find the edge, and in order to protect herself, she put on a false mask. In the end, Angrass died, and the remaining two sisters lived separately. It is possible that they met quite far away. These were caused by the two of them, or it was the first time that the two of them had a tacit understanding of choosing one. Behaviour – separation from the other person. And what about the servant Anna? Perhaps it can be said that this story is actually her own dream, combined with the memories of the three sisters playing Qianqiu that Angrath recalled at the end of the film. This psychologically-focused film is undoubtedly a sad tragedy, both for its protagonist and for its meaning.
Bergman subtly wraps the entire film in the color "red", and the transition from the cast to the four protagonists looking directly at the camera is a dark red gradient. The red here is different from the one in "Shadows Forgotten by Ancestors", but the effect is just as remarkable. Another ingenious thing is the life background of the protagonists. In my memory, Bergman likes to use the aristocratic or petty bourgeoisie life as the background, and the first feeling that this kind of life background gives me is loneliness and numbness, especially time. The span is a century or two ago. Nature has not been polluted by industry, human beings have not had too much entertainment, or women's lives are still in the period of family interests, these backgrounds are often very convincing and appealing. "The Scream and the Whisper" is exactly that.
One thing that deserves my attention - the soul. Bergman hates it's easy to make me think of him as a director who is curious about death, which is one of the reasons I like him. Death is an unknown world to me, but watching his movies makes me imagine the appearance of death in different virtual worlds. The God of Death in "The Seventh Seal" is the most handsome one I have ever seen, "Wild Strawberry" The professor in the middle coffin, the deceased father in "Finland and Alexander", and the second sister's soul in "Scream and Whisper" is even more illusory, only the existence of sound, but no visual live broadcast, just like Like the two heroines in "Masquerade", although the body is not dead, the spirit has long been detached from reality and blurred the will. Are these the kind of dialogue that Bergman made the world talk to the past?
This film really contains too much full content, no matter which character you start with, you can interpret many different points of view, linking and struggling with each other. "Scream and Whisper" is really a good work, but if I had to choose a favorite of all Bergman's works, it would be a headache, I believe I like Bergman People have the same feeling as me.
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