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Viskningar och rop (1972)
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Overview
User Rating:
Release Date:
5 March 1973 (Sweden) moreTagline:
A haunting and shattering film experience.Plot:
When a woman dying of cancer in turn-of-the century Sweden is visited by her two sisters, long repressed feelings between the siblings rise to the surface. full summary | add synopsisAwards:
Won Oscar. Another 19 wins & 7 nominations moreNewsDesk:
(5 articles)
“Ticket Stubs” Review: ‘Antichrist’ - Lars Von Trier’s controversial award winner (From MovieSet.com. 6 November 2009, 3:15 PM, PST)
In search of redemption
(From Roger Ebert's Blog. 27 June 2008, 3:55 PM, PDT)
User Comments:
Sad, cold, profoundly desperate more (103 total)Cast
(Credited cast)| Harriet Andersson | ... | Agnes | |
| Kari Sylwan | ... | Anna | |
| Ingrid Thulin | ... | Karin | |
| Liv Ullmann | ... | Maria (and her mother) | |
| Anders Ek | ... | Isak, the priest | |
| Inga Gill | ... | Story teller | |
| Erland Josephson | ... | David, the doctor | |
| Henning Moritzen | ... | Joakim, Maria's husband | |
| Georg Årlin | ... | Fredrik, Karin's husband | |
| rest of cast listed alphabetically: | |||
| Ingrid Bergman | ... | Spectator (as Ingrid von Rosen) | |
| Lena Bergman | ... | Maria as a child | |
| Lars-Owe Carlberg | ... | Spectator | |
| Malin Gjörup | ... | Anna's daughter | |
| Greta Johansson | ... | Undertaker | |
| Karin Johansson | ... | Undertaker | |
| Ann-Christin Lobråten | ... | Spectator | |
| Börje Lundh | ... | Spectator | |
| Rossana Mariano | ... | Agnes as a child | |
| Monika Priede | ... | Karin as a child | |
| Linn Ullmann | ... | Maria's daughter | |
Additional Details
Parents Guide:
Add content advisory for parentsRuntime:
91 minCountry:
SwedenLanguage:
SwedishColor:
Color (Eastmancolor)Aspect Ratio:
1.66 : 1 moreSound Mix:
MonoCertification:
Sweden:15 | Australia:M | Argentina:16 | Finland:K-16 | Singapore:M18 | UK:18 (re-rating) (1998) | UK:X (original rating) | USA:RFilming Locations:
Taxinge-Näsby estate, Mariefred, Södermanlands län, SwedenFun Stuff
Trivia:
Bergman, who produced the film with his own money, could not find an American distributor as they felt it was too uncommercial. Roger Corman, who had just left American-International Pictures to set up his own New World releasing company, was in the market for a prestige picture to give his new operation some class. moreQuotes:
David: Come over here Maria. Look at yourself in the mirror. You are beautiful... but you have changed. These days you cast rapid, calculating, sidelong glances. You're gaze used to be direct, open, and without any disguise. Your mouth is an expression of discontent and hunger. It used only to be soft. Your complexion has become pallid, you use make-up. Your fine, broad forehead now has four creases above each eyebrow... moreSoundtrack:
Suite No. 5 for solo Cello in C Minor, 4th mvt 'Sarabande' moreFAQ
This FAQ is empty. Add the first question.more (103 total)
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To see Liv Ullmann, whose nature is so warm and natural, play a role in which her warmth is superficial and fraudulent, is a little offsetting; yet, great actress that she is, she pulls it off, so that if I had never seen her before, I would believe she was that way.
"Cries and Whispers," much ballyhooed, I recall, when it appeared, seems too psychoanalytically intense today; dark and mysterious, beautifully filmed in an intense red-yes, very striking against the northern cold, but somehow not entirely convincing. The people are cynically presented as tortured animals caring only for themselves, without a scrap of genuine feeling for others. Anna, the maid, is the exception, so that she may serve as a foil for the rest of them.
Harriet Andersson gives a striking performance as Agnes who is dying of cancer. I have seen what she portrays, and can tell you she expressed it in all its horror and hopelessness. Ullmann plays Maria, one of her sisters who touches others easily, but without real feeling, so that the touches mean nothing. For those who grew up cinematically during the seventies, she was a great, expressive, sensual, flawless star of the screen, one of Ingmar Bergman's jewels. Bergman himself of course was already a legend by the time this film was made, a great master who did what he wanted and what he felt, yet never lost sight of the audience. What he seems to be saying here is we are desperate creatures living a cold and ultimately empty existence. The ending clip seems an after thought that seeks our redemption, but it arrives too little too late. We are lost.