IMDb > Fanny and Alexander (1982)
Fanny och Alexander
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Fanny and Alexander (1982) More at IMDbPro »Fanny och Alexander (original title)

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Overview

User Rating:
8.2/10   30,578 votes »
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Down 3% in popularity this week. See why on IMDbPro.
Director:
Writer:
Ingmar Bergman (written by)
Contact:
View company contact information for Fanny and Alexander on IMDbPro.
Release Date:
17 December 1982 (Sweden) See more »
Genre:
Tagline:
En film av Ingmar Bergman
Plot:
Two young Swedish children experience the many comedies and tragedies of their family, the Ekdahls. Full summary » | Full synopsis »
Awards:
Won 4 Oscars. Another 20 wins & 7 nominations See more »
User Reviews:
Life-affirming Bergman. See more (92 total) »

Cast

  (in credits order) (complete, awaiting verification)
Kristina Adolphson ... Siri - Ekdahlska huset
Börje Ahlstedt ... Carl Ekdahl - Ekdahlska huset
Pernilla Allwin ... Fanny Ekdahl - Ekdahlska huset
Kristian Almgren ... Putte Ekdahl - Ekdahlska huset
Carl Billquist ... Police Superintendent Jespersson - Ekdahlska huset
Axel Düberg ... Witness to Bishop's death - Ekdahlska huset
Allan Edwall ... Oscar Ekdahl - Ekdahlska huset
Siv Ericks ... Alida - Ekdahlska huset
Ewa Fröling ... Emilie Ekdahl - Ekdahlska huset
Patricia Gélin ... Statue - Ekdahlska huset (as Patricia Gelin)
Majlis Granlund ... Miss Vega - Ekdahlska huset
Maria Granlund ... Petra Ekdahl - Ekdahlska huset
Bertil Guve ... Alexander Ekdahl - Ekdahlska huset
Eva von Hanno ... Berta - Ekdahlska huset
Sonya Hedenbratt ... Aunt Emma - Ekdahlska huset
Olle Hilding ... Old Clergyman - Ekdahlska huset
Svea Holst ... Miss Ester - Ekdahlska huset

Jarl Kulle ... Gustav Adolf Ekdahl - Ekdahlska huset
Käbi Laretei ... Aunt Anna von Bohlen - Ekdahlska huset
Mona Malm ... Alma Ekdahl - Ekdahlska huset

Lena Olin ... Rosa - Ekdahlska huset
Gösta Prüzelius ... Doctor Fürstenberg - Ekdahlska huset
Christina Schollin ... Lydia Ekdahl - Ekdahlska huset
Hans Strååt ... Clergyman at Wedding - Ekdahlska huset

Pernilla August ... Maj - Ekdahlska huset (as Pernilla Wallgren)
Emelie Werkö ... Jenny Ekdahl - Ekdahlska huset
Gunn Wållgren ... Helena Ekdahl - Ekdahlska huset (as Gun Wållgren)
Inga Ålenius ... Lisen - Ekdahlska huset
Marianne Aminoff ... Blenda Vergérus - Biskopsgården

Harriet Andersson ... Justina - Biskopsgården
Mona Andersson ... Karna (Maid) - Biskopsgården
Hans Henrik Lerfeldt ... Elsa Bergius - Biskopsgården
Jan Malmsjö ... Bishop Edvard Vergerus - Biskopsgården
Marianne Nielsen ... Selma (Maid) - Biskopsgården
Marrit Ohlsson ... Malla Tander (Cook) - Biskopsgården (as Marrit Olsson)
Kerstin Tidelius ... Henrietta Vergerus - Biskopsgården
Anna Bergman ... Hanna Schwartz - Teatern

Gunnar Björnstrand ... Filip Landahl - Teatern
Nils Brandt ... Mr. Morsing (actor) - Teatern
Lars-Owe Carlberg ... Glee Singer - Teatern
Gus Dahlström ... Props Man - Teatern
Ernst Günther ... Rector Magnificus - Teatern
Hugo Hasslo ... Glee Singer - Teatern
Heinz Hopf ... Tomas Graal (actor) - Teatern
Maud Hyttenberg ... Miss Sinclair (Actress) - Teatern (as Maud Hyttenberg-Bartoletti)
Sven-Erik Jacobsson ... Glee Singer - Teatern
Marianne Karlbeck ... Miss Palmgren - Teatern
Kerstin Karte ... Prompter - Teatern
Tore Karte ... Office Manager - Teatern
Åke Lagergren ... Johan Armfeldt (Actor) - Teatern
Sune Mangs ... Mr. Salenius (Actor) - Teatern
Per Mattsson ... Mikael Bergman (Actor) - Teatern
Lickå Sjöman ... Grete Holm (Actress) - Teatern
Ryno Wallin ... Teatern
Georg Årlin ... Teatern - Colonel
Daniel Bell ... Teaterorkestern
Gunnar Djerf ... Teaterorkestern
Folke Eng ... Teaterorkestern
Ebbe Eng ... Teaterorkestern
Evert Hallmarken ... Teaterorkestern
Nils Kyndel ... Teaterorkestern
Ulf Lagerwall ... Teaterorkestern
Börje Mårelius ... Teaterorkestern
Karl Nilheim ... Teaterorkestern

Erland Josephson ... Isak Jacobi - Jacobis hus
Stina Ekblad ... Ismael Retzinsky - Jacobis hus
Mats Bergman ... Aron Retzinsky - Jacobis hus
Viola Aberlé ... Japanese Woman - Jacobis hus
Gerd Andersson ... Japanese Woman - Jacobis hus
Ann-Louise Bergström ... Japanese Woman - Jacobis hus
rest of cast listed alphabetically:
Matthias Bolliger ... Teatern (uncredited)
Marie-Hélène Breillat ... Jacobis hus (uncredited)
Krister Hell ... Young man who helps Isak with coffer (uncredited)
Linda Krüger ... Pauline - Biskopsgården (uncredited)
Mats Lindblom ... Man (uncredited)
Michael Santiago ... Voice (uncredited)
Marie-Louise Sid ... Dancer - Teatern (uncredited)

Peter Stormare ... Young man who helps Isak with coffer (uncredited)
Pernilla Wahlgren ... Esmeralda - Biskopsgården (uncredited)
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Directed by
Ingmar Bergman 
 
Writing credits
Ingmar Bergman (written by)

Produced by
Jörn Donner .... producer
Renzo Rossellini .... co-producer (uncredited)
Daniel Toscan du Plantier .... producer (uncredited)
 
Original Music by
Daniel Bell 
 
Cinematography by
Sven Nykvist 
 
Film Editing by
Sylvia Ingemarsson 
 
Art Direction by
Anna Asp 
 
Set Decoration by
Susanne Lingheim 
 
Costume Design by
Marik Vos-Lundh  (as Marik Vos)
 
Makeup Department
Cecilia Drott .... wig maker
Kjell Gustavsson .... wig maker
Barbro Haugen .... makeup artist (as Barbro H Haugen)
Anna-Lena Melin .... makeup artist
Leif Qviström .... makeup artist
Mariann Virdestam .... wig maker
 
Production Management
Katinka Faragó .... production manager
 
Second Unit Director or Assistant Director
Peter Schildt .... assistant director
 
Art Department
Gunilla Allard .... props
Jan Andersson .... props
Olle Berg .... carpenter
Kenneth Blomqvist .... carpenter
Anna Marie Davidsson .... painter
Christer Ekelund .... props
Tua Ekholm .... painter
Jan Eriksson .... carpenter
Kenth Eriksson .... painter (as Kent Eriksson)
Annmargret Fyregård .... assistant set decorator
Ylva Hammar .... painter
Teddy Holm .... painter
Johan Husberg .... props
Cecilia Iversen .... painter
Dick Jacobsson .... painter
Lisbeth Jansson .... painter
Nisse Johansson .... carpenter
Andrew Jones .... painter
Donald Karlsson .... painter
Lena Karlsson .... painter
Bengt Landegren .... painter
Kaj Larsen .... technical director
Berth Martinsson .... carpenter (as Bert Martinsson)
Percy Nilsson .... construction grip
Rolf Persson .... head painter
Ulrika Rindegård .... assistant set decorator
Björn Sinclair .... carpenter
Bertil Sjölund .... carpenter
Anna Skagerfors .... painter
Tom Stocklassa .... painter
Hans Strandberg .... carpenter
Bengt Svedberg .... painter
Anders Söderlund .... carpenter
Jakob Tigerskiöld .... draughtsman
Sigrid William-Olsson .... painter
John Alvin .... poster artist (uncredited)
 
Sound Department
Björn Gunnarsson .... sound mixer
Björn Gunnarsson .... sound
Lars Liljeholm .... sound mixer
Lars Liljeholm .... sound
Bo Persson .... sound mixer
Bo Persson .... sound
Owe Svensson .... sound mixer
Owe Svensson .... sound
 
Special Effects by
Bengt Lundgren .... special effects
 
Stunts
Johan Thorén .... stunts (as Johan Torén)
 
Camera and Electrical Department
Torbjörn Andersson .... electrician
Daniel Bergman .... grip
Ulf Björck .... electrician
Arne Carlsson .... still photographer
Tony Forsberg .... camera operator: second unit
Ragnar Hansson .... electrician
Kent Högberg .... electrician
Lars Karlsson .... assistant camera
Ted Lindahl .... electrician
Dan Myhrman .... assistant camera
Ulf Pramfors .... grip
 
Costume and Wardrobe Department
Ingabritt Adrianson-Ejenstam .... costume assistant (as Ingabritt Adriansson)
Anne-Marie Broms .... costume assistant (as Anne Marie Broms)
Wiveca Dahlström .... tailor
Ann Katrin Edmark .... tailor
Görel Engstrand .... costume assistant
Solveig Eriksson .... tailor
Rosemarie Karlsson .... tailor
Maria Lindmark .... costume assistant
Elsie-Britt Lindström .... costume producer
Ann-Christin Lobråten .... costume assistant (as Annchristin Lobråten-Hjelm)
Kristina Makroff .... costume producer
Robert Nordlund .... costume producer
Lena Persson .... tailor
Kjell Sundqvist .... costume producer
Niclas Svartengren .... tailor
Caroline Von Rosen .... tailor
Lenamari Wallström .... costume assistant
 
Editorial Department
Mikael Lönndahl .... assistant editor (uncredited)
 
Music Department
Frans Helmerson .... musician
Marianne Jacobs .... musician
Per Lyng .... conductor
 
Transportation Department
Åke Dahlbom .... driver
 
Other crew
Ingrid Bergman .... administrator
Mildred Brandt .... hostess
Lars-Owe Carlberg .... administrator
Kerstin Eriksdotter .... script supervisor
Berit Gullberg .... press officer
Arne Högsander .... dolls
Hellen Igler .... accountant
Eva Ivarsson .... location manager
Benita Lundqvist .... production secretary
Nils Melander .... laboratory technician
Marie Rechlin .... teacher
Fredrik Von Rosen .... administrator
Brita Werkmäster .... location manager
Christian Wirsén .... laterna magica
Mercedes Björlin .... choreographer (uncredited)
 
Crew believed to be complete


Production CompaniesDistributorsOther Companies
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Additional Details

Also Known As:
"Fanny och Alexander" - Sweden (original title)
"Fanny & Alexander" - International (English title)
See more »
Runtime:
188 min | Sweden:312 min (director's cut)
Language:
Color:
Color (Eastmancolor)
Aspect Ratio:
1.66 : 1 See more »
Sound Mix:
Certification:

Did You Know?

Trivia:
In paring down the film to exhibitable length, Bergman said he had to "cut into the nerves and lifeblood of the film".See more »
Goofs:
Anachronisms: The movie opens at Christmas 1907. The bishop's proposal to Emilie could not have been any earlier than mid-1908, which means that the end of the film could not have taken place any earlier than mid-1909. Emilie refers to _A Dream Play_ as a "new" play by Strindberg, but the play had already had its Stockholm premiere in 1907, i.e. prior to the start of the action of the film.See more »
Quotes:
Ekdahlska huset - Alexander Ekdahl:[to his stepfather] Alexander does not wish the Bishop a good night.See more »
Movie Connections:

FAQ

What happens during Uncle Isak's visit to the Bishop's House and how?
Was the Bishop responsible for how his previous family died?
How could Fanny & Alexander be eligible for an Academy Award, when it was shown on television beforehand?
See more »
28 out of 43 people found the following review useful.
Life-affirming Bergman., 8 May 2003
Author: philipdavies from United Kingdom

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.

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