While waiting for the night rehearsal of the ballet Swan Lake, the lonely twenty-eight year-old ballerina Marie receives a diary through the mail. She travels by ferry to an island nearby ... See full summary »
Ingmar Bergman's The Serpent's Egg follows a week in the life of Abel Rosenberg, an out-of-work American circus acrobat living in poverty-stricken Berlin following Germany's defeat in World... See full summary »
Marianne, some thirty years after divorcing Johan, decides to visit her ex-husband at his summer home. She arrives in the middle of a family drama between Johan's son from another marriage and his granddaughter.
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 »
Ten years of Marianne and Johan's relationship are presented. We first meet them ten years into their marriage. He is a college professor, she a divorce lawyer. They say that they are ... See full summary »
A surrealist tale of a man and a woman who are passionately in love with one another, but their attempts to consummate that passion are constantly thwarted, by their families, the Church and bourgeois society.
Caridad de Laberdesque
"Karin's Face" was shown as part of the Bergman retrospective organized by the National Gallery, the American Film Institute, and the National Museum of Women in the Arts. It was paired with his 1958 "Brink of Life" in an insightful match.
This is a surprising and lovely film, and thoroughly engrossing, given its brief length. Shot and framed with exquisite care, it validates a favorite past time and the value of looking at old photographs of family members to gain insight into one's self.
Amassing as many of the old photos as he could of his parents and grandparents, their relatives and offspring, Bergman takes long, lingering views of their faces, their hands, the expressions in their eyes and mouths, registering for us all, something special in the faces of siblings and relatives young and old. These are long loving looks, with no narration, just a piano playing a simple slightly abstract tune. It was quite moving to see, just through juxtaposition, what Bergman could lead us to think about how he regards his mother, father, aunts, uncles, cousins, -- anyone who was pictured, including himself as a boy.
This film recalled the movie "Best Intentions," of 1992, because the actors in that film really looked like his parents. What was striking in gazing at these photographs, was that Bergman's father had the more feminine face, with his soft features, large eyes, and receding chin; whereas his mother had the more masculine face, smaller eyes, strong jaw, intelligent but not stern. She was quite a beauty when young (her mother opposed the marriage, as in the movie) and being a parson's wife took its toll on her beauty, but instilled great character in her face, which never grew hard, as some faces can in old age.
Of particular interest was the fact that many of the faces of his relative had traits of the actresses, especially, that he favored, their expressions recalling them uncannily. One face looked very much like Liv Ullmann, and Bibi Andersson's features seem to resemble something of his mother's when she was young.
The simplicity and power of this film, its rhythm and pacing, earn Bergman a new epithet as a conductor, so musical did the entire piece seem to this viewer. Definitely recommended to all film goers who appreciate character development in cinema and abhor its absence in so many of today's films.
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