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After the Rehearsal (1984)
"Efter repetitionen" (original title)

TV Movie  |  R  |   |  Drama  |  9 April 1984 (Sweden)
7.4
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Ratings: 7.4/10 from 1,167 users  
Reviews: 7 user | 8 critic

Rational, exacting, and self-controlled theater director, Henrik Vogler, often stays after rehearsal to think and plan. On this day, Anna comes back, ostensibly looking for a bracelet. She ... See full summary »

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Title: After the Rehearsal (TV Movie 1984)

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Cast

Complete credited cast:
...
Henrik Vogler (older)
...
Rakel Egerman
...
Anna Egerman (older)
Nadja Palmstjerna-Weiss ...
Anna Egerman (younger)
Bertil Guve ...
Henrik Vogler (younger)
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Storyline

Rational, exacting, and self-controlled theater director, Henrik Vogler, often stays after rehearsal to think and plan. On this day, Anna comes back, ostensibly looking for a bracelet. She is the lead in his new production of Stindberg's "A Dream Play." She talks of her hatred for her mother, now dead, an alcoholic actress, who was Vogler's star and lover. Vogler falls into a reverie, remembering a day Anna's mother, Rakel, late in life, came after rehearsal to beg him to come to her apartment. He awakes and Anna reveals the reason she has returned: she jolts him into an emotional response, rare for him, and the feelings of a young woman and an older man play out. Written by <jhailey@hotmail.com>

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Drama

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Release Date:

9 April 1984 (Sweden)  »

Also Known As:

After the Rehearsal  »

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1.33 : 1
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Did You Know?

Trivia

Ingmar Bergman was so impressed when he met Lena Olin for the first time that he wrote the part of Anna especially for her. See more »

Connections

Featured in ...But Film is My Mistress (2010) See more »

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User Reviews

 
All the World's a Stage!
18 January 2014 | by (Netherlands) – See all my reviews

This is a brilliant work of art - it manages to be both an outstanding piece of theatre captured on film and an equally engaging film about theatre. There is no plot in a conventional sense, and absolutely no action. Instead, Erland Josephson, utterly convincing in his role as an aging theatre director, quietly and with ruthless honesty interacts with both his current new star and an actress from his personal and professional past. During this interplay, the director on the screen (speaking for the director behind the camera?) explains his love for actors and the theatre, while simultaneously modeling and undermining the sense of alienation that he feels he needs to have in order to get his job done in this world that he loves. At the same time, his young star examines her reasons for acting, and the woman from his past presents yet another take on the function of theatricality.

The dialogue is, as always with Bergman, perfect; the film is saturated with ideas; and the simple stage where every moment of the film takes place works in two directions at once, reminding us that we are watching a performance even while it insists we are also seeing "real" people at work.

Bergman is always amazing in his ability to express, in films that are set in singular specific locations, deep emotions and concepts that are nonetheless universal - in this film he gives us a little bonus, an insight into the motives behind manufacture of representation itself.


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