Fanny and Alexander (1982)
"Fanny och Alexander" (original title)

Two young Swedish children experience the many comedies and tragedies of their family, the Ekdahls.

Director:

Ingmar Bergman

Writer:

Ingmar Bergman

Stars:

Pernilla Allwin, Bertil Guve, Börje Ahlstedt

Won 4 Oscars. Another 20 wins & 7 nominations.

Cast

Cast overview, first billed only:
Pernilla Allwin	...	Ekdahlska huset - Fanny Ekdahl
Bertil Guve	...	Ekdahlska huset - Alexander Ekdahl
Börje Ahlstedt	...	Ekdahlska huset - Carl Ekdahl
Allan Edwall	...	Ekdahlska huset - Oscar Ekdahl
Ewa Fröling	...	Ekdahlska huset - Emilie Ekdahl
Gunn Wållgren	...	Ekdahlska huset - Helena Ekdahl (as Gun Wållgren)
Jarl Kulle	...	Ekdahlska huset - Gustav Adolf Ekdahl
Jan Malmsjö	...	Biskopsgården - Bishop Edvard Vergerus
Christina Schollin	...	Ekdahlska huset - Lydia Ekdahl
Kerstin Tidelius	...	Biskopsgården - Henrietta Vergerus
Emelie Werkö	...	Ekdahlska huset - Jenny Ekdahl
Marianne Aminoff	...	Biskopsgården - Blenda Vergérus
Sonya Hedenbratt	...	Ekdahlska huset - Aunt Emma
Svea Holst	...	Ekdahlska huset - Miss Ester
Kristina Adolphson	...	Ekdahlska huset - Siri

Storyline

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.

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Plot Keywords:

bishop | jewish | female nudity | puppet theater | family gathering | 

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Taglines:

En film av Ingmar Bergman

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Genres:

Drama | Fantasy | Mystery

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Certificate:

R

Details

Country:

Sweden France West Germany

Language:

Swedish German Yiddish English

Release Date:

17 December 1982 (Sweden)

Also Known As:

Fanny and Alexander

Filming Locations:

Europa Studios, Bromma, Stockholm, Stockholms län, Sweden

Box Office

Gross:

SEK 21,041,492 (Sweden)

Company Credits

Production Co:

Cinematograph AB, Svenska Filminstitutet (SFI), Gaumont

Technical Specs

Runtime:

188 min 312 min (director's cut)

Sound Mix:

Mono

Color:

Color (Eastmancolor)

Aspect Ratio:

1.66 : 1

Did You Know?

Trivia

Ingmar Bergman had Ingrid Bergman in mind when he wrote the role of Helena Ekdahl, grandmother of Fanny and Alexander. The role eventually went to Gunn Wållgren.

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Goofs

As the bishop and his new wife leave the wedding walking to their new home, a sticker from security company Securitas is visible in the lower corner of a window.

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Quotes

Ekdahlska huset - Alexander Ekdahl: If there is a god, then he's a shit, and I'd like to kick him in the butt.
Jacobis hus - Aron: Your theory is very interesting and appears to be justified.

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Connections

Featured in I Am Curious, Film (1995)

User Reviews

Life-affirming Bergman.

Perhaps the most impressive feature of this wonderful film is the humility with which its creator presents it to the world, as if it were no grander than the old-fashioned Nativity-play shown in the early scenes at the Theatre.

At the end of this experience - to term it with any mere technical tag, like 'movie', would be inadequate - Bergman's profoundly grown-up disillusionment has transformed into the pure spirituality of abnegation and acceptance. His intellectual pilgrimage, through possibly the greatest career in films, finds the director arriving back where he began, with the great simplicities of life. But there is a difference with his return, which is that his prodigality over the years has burnt the rage out of him, and finally allowed him to 'enjoy what may be enjoyed' (as one of the Ekdahls says), without further fretting over the puzzle of human existence. From all this human folly (he clearly feels) comes the only wisdom, which is - simply

• to be human.

It is, indeed, a film like no other for allowing the pieces of experience to settle into their appointed places. There is a beautiful quality of selfless resignation, in this last of his works for cinema, which finally and forever excels the sadistic disciplines of The Bishop.

This perverted creature confesses, to the new wife whom he has lost, how it is impossible to 'tear off the mask' as it is 'burned into my face': He is become an authoritarian '... a rite, a law, a custom - not a man'. [Shelley] Having put the notional love of God before that of humankind, there is nowhere for his personality to be re-enacted in the bosom of any kindly recollections that will survive him. Except in that of Alexander/Bergman, where his two, each-in-their-own-way terrifying, fathers, both the White and the Black opposites of an imagination flickering with the director's haunted vision, will project forever onto his Cinematic arena of stark absolutes the inner strife where each of us is locked away, struggling to endure the turmoil of these eternally irreconcilable truths.

The White Knight and The Black Bishop: These are phantom moves in our great game with Death, and pieces that will be returned into play for as long as humanity continues. How like Chess Life is: Just a game we play, with arbitrary rules, and yet whose progress is of supreme and abiding concern to each and every one of us.

This great work is a monument to play, in all its senses, not least the play of light and the play of ideas, both equally insubstantial and yet the essence of reality, eloquent as the silence of a great, roofless Cathedral. Out of the Ruin of Faith, Bergman has wrought a Peace that passeth understanding. And it is in this ultimate by-passing of the relentless structures of intellect that Bergman finally achieves the resolution of his productive neuroses, in a truly magical film whose every phase is as inevitable as breathing, or the changeable and unimpeded weather.

As the grandmother reflects. at last, 'I don't want to put Life together anymore. I just leave it broken. Strangely, it seems better that way.'

Death, in the end, is not a calamity, but the choice of all who have truly known Life. In other words, to choose Life is to accept its Dark partner, Death. And to accept each as part of the family group, even though they seem complete misfits there.

The old lady, with Strindberg's Dream-play in her lap, knows at last that the whole history of her family is only a personal reverie. And yet how much more real it seems than her son Carl's immature and somewhat absurd, angst-ridden railings against 'cruel Fate'!

Had he only accepted his patient wife's gently sympathetic injunction to 'Never mind' the Professor would have been both wiser and happier, enduring with patient fortitude the oceanic inconsequentialities of life's real Mystery, and attending far less to the trivial pseudo-mysteries of his solipsistic men's club. All his morbid rationalising is precisely as much use in real life as the usual state of alcoholic befuddlement which is the only serious pursuit of this club.

Reason as befuddlement; The sleep of reason as deliverance. With saint-like humility, Bergman gives us back our ordinary human life, as he surrenders his exceptional life in films. But he knows that the ghost of this life will always be with us. His anguished worldliness will haunt us - as the Ghost of Hamlet's father must haunt Alexander - forever.