A sensitive exploration of the tragic irony of the psychiatrist suffering with mental illness. Dr. Jenny Isaksson is a psychiatrist married to another psychiatrist; both are successful in ... See full summary »
Strange events happen in a small village in the north of Germany during the years just before World War I, which seem to be ritual punishment. The abused and suppressed children of the villagers seem to be at the heart of this mystery.
The title characters are children in the exuberant and colorful Ekdahl household in a Swedish town early in the twentieth century. Their parents, Oscar and Emilie, are the director and the leading lady of the local theatre company. Oscar's mother and brother are its chief patrons. After Oscar's early death, his widow marries the bishop and moves with her children to his austere and forbidding chancery. The children are immediately miserable. The film dramatizes and resolves those conflicts. A sub-plot features Isak, a local Jewish merchant who is the grandmother's lover and whose odd household becomes the children's refuge. Written by
To encourage a more natural performance from his young lead actor, Ingmar Bergman specifically didn't tell Bertil Guve what the film was about and what was going to happen in it. See more »
In the theatre scene, early in the movie, Georg Årlin, who plays a high ranking military man, is seen whispering with a person sitting next to him. The next shot shows other people talking, and then Årlin is seen behind them at the left corner, in conversation with no one, staring into space in front of him. See more »
"...Anything can happen, anything is possible. Time and space do not exist..."
"Fanny and Alexander" (1982) was announced at the time of its release as Ingmar Bergman's swan song, his last film for the big screen. It is his most optimistic and enchanting blend of romance, tragedy, comedy, fantasy, and mysticism. Set in Sweden in the beginning of the 20th century, the film follows the lives and adventures of two children, brother and sister Fanny and Alexander Edkahl.
I love Bergman in every mood and in every genre - I love him dark, bleak, harrowing ("Shame"), mysterious ("Persona"), merciless and devastating ("Scenes from a Marriage, "Face to Face", "Autumn Sonata). I love his lighter, smiling side ("Wild Strawberries", "Smiles of a Summer Night). Even for a master of Bergman's powerful talent, "Fanny and Alexander" is extraordinary - a profound film which is also one of his most accessible works.
Pablo Picasso said once, "When I was 9 years old, I could paint like Rafael; as an adult, all my life I tried to learn how to paint like a child". In his final film, one of the greatest masters of dark and sometimes morose psychological studies looks at the world with a child's eye. The words he chose to finish his film with reflect the hope, the happiness and the magic that can be fully felt only in one's childhood: "...Anything can happen, anything is possible. Time and space do not exist. ..On a flimsy ground of reality, imagination spins out and waves new patterns." --- August Strindberg's introductory notes for A Dream Play.
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