true face

Jess 2022-03-27 09:01:06

Well, 350 words isn't enough for short reviews.

1. Make a bold guess: You may also understand that the long and slow style is not very pleasing, so at the beginning, it is often very expressive and guilty, and then it enters the usual style. Night of the clowns, prisons, music in the dark, flowers and dreams, it's all like that.

2. Actress and nurse, from emotional extension to Guity extension, this structure is a combination of silence and still in the mirror, but compared to the first two films, it has more resonance. why? The lines are still stage-style verbose. I think in "Masquerade", Bergman finally found a way to balance: it's not enough to dilute the story, the set needs to be more concise, the montage needs to be refined and appropriately fast-paced, and some subtle design can be introduced, so as to neutralize the "spiritual rooting" "It's a slowness that's hard to get rid of.

3. The section covering the child's photo is a touching design. The female nurse questioned the actor, like the final judgment, and the same lines were filmed twice. Once the photo is complete, the camera is on the actress, silent. The second time the photo is torn, the camera is on the female nurse, aggressive. Who is whose mask? Everyone is the real face of whoever is.

4. The scene where two lesbians are pulling their hair in front of the mirror, one with short hair and one with long hair, can't help comparing it with Lynch's "Mulholland Drive". Obviously, "Masquerade" really touches the state of "spiritual unity", and does not rely on too grotesque narrative techniques, which is not comparable to Mulholland Road.

5. Bergman has the potential to make cult films, which can be seen in the early 1940s films.

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Extended Reading

Persona quotes

  • Sister Alma: Elisabet? Can I read you something from my book? Or am I disturbing you? It says here:"All the anxiety we bear with us, all our thwarted dreams, the incomprehensible cruelty, our fear of extinction, the painful insight into our earthly condition, have slowly eroded our hope of an other-wordly salvation. The howl of our faith and doubt against the darkness and silence, is one of the most awful proofs of our abandonment and our terrified, unuttered knowledge." Do you think it's like that?

  • Sister Alma: Karl-Henrik and I rented a cottage by the sea once. It was June, and we were all alone. One day, when Karl-Henrik had gone into town, I went to the beach on my own. It was a warm and lovely day. There was another girl there. She'd paddled over from another island because our beach was sunnier and more secluded. We lay there, sunbathing beside one another, complete naked, dozing now and then, putting suntan lotion on. We had those cheap straw hats on, you know? I had a blue ribbon around mine. I lay there peeping out from under my hat at the landscape and the sea and the sun. It was kind of funny. Suddenly I saw two figures leaping about on the rock above us. They would hide and then peek out. "There's a couple of boys looking at us," I told the girl. Her name was Katarina. "Let them look," she said, and turned over on her back. It was a strange feeling. I wanted to jump up and put my robe on but I just lay there on my stomach with my bottom in the air, not at all embarrassed, completely calm. Katarina lay there next to me the whole time, with her breasts and thick thighs. She just lay there sort of giggling to herself. I noticed that the boys had come closer. They just stood there looking at us. I noticed they were terribly young. Then one of them - the more daring of the two - came up and squatted down next to Katarina. He pretended to be busy picking at his toes. I felt so strange. Suddenly I heard Katarina say, "Hey, why don't you come over here?" She took him by the hand and helped him off with his jeans and shirt. Then suddenly he was on top of her. She guided him in with her hands on his behind. The other boy just sat on the slope and watched. I heard Katarina whisper in the boy's ear and laugh. His face was right next to mine. It was red and swollen. Suddenly I turned over and said, "Aren't you coming over to me too?" And Katarina said, "Go to her now." He pulled out of her and fell on top of me, completely hard. He grabbed my breast. It hurt so bad. I was ready somehow and came almost at once. Can you believe it? I was about to say, "Careful you don't get me pregnant" when he suddenly came. I felt it like never before in my life, the way he sprayed his seed into me. He gripped my shoulders and arched backward. I came over and over. Katarina lay on her side and watched and held him from behind. After he came, she took him in her arms and used his hand to make herself come. When she came, she screamed like a banshee. Then all three of us started laughing. We called to the other boy, who was sitting on the slope. His name was Peter. He came down, looking all confused and shivering despite the sunshine. Katarina unbuttoned his pants and started to play with him. And when he came, she took him in her mouth. He bent down and kissed her back. She turned around, took his head in both hands, and gave him her breast. The other boy got so excited that he and I started all over again. It was just as good as before. Then we went for a swim and parted ways. When I got home, Karl-Henrik was already back from town. We ate dinner and drank some red wine he'd brought. Then we had sex. It's never been as good, before or since. Can you understand that?