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.
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 »
A judge in an unnamed country interviews three actors, together and singly, provoking them while investigating a pornographic performance for which they may face a fine. Their relationships... See full summary »
Bergman interviews the locals of Fårö in this fascinating documentary. An expression of personal and political solidarity with the fellow inhabitants of his adopted home, the island of Fårö... See full summary »
Don Juan is sent from Hell to Earth with a mission - to seduce a 20 years old virgin in order to spoil her pure wedding. The mission becomes crazy when Don Juan falls in love for the first time in centuries.
Berlin, 1923. Following the suicide of his brother, American circus acrobat Abel Rosenberg attempts to survive while facing unemployment, depression, alcoholism and the social decay of Germany during the Weimar Republic.
Two estranged sisters, Ester and Anna, and Anna's 10-year-old son travel to the Central European country on the verge of war. Ester becomes seriously ill and the three of them move into a hotel in a small town called Timoka.
In the midst of a civil war, former violinists Jan and Eva Rosenberg, who have a tempestuous marriage, run a farm on a rural island. In spite of their best efforts to escape their homeland, the war impinges on every aspect of their lives.
Made during Writer, Producer, and Director Ingmar Bergman's tax-related exile in Germany, the movie continues the story of Katarina (Christine Buchegger) and Peter Egermann (Robert Atzorn), the feuding, childless, professional couple who appear in one episode of "Scenes From A Marriage". After Peter perpetrates a horrendous crime in its first scene, the rest of the movie consists of a non-linear examination of his motivations, incorporating a police psychological investigation, scenes from the Egermanns' married life, and dream sequences.Written by
Owen F. Lipsett <email@example.com>
I'm only a child. Then again, maybe not. I don't know about time. It doesn't exist, say those who've thought about it. I shut my eyes and feel like a 10-year-old. Physically as well. Then I open them and look in the mirror and an old man stands there. A childish old man, isn't that strange. A childish old man, that's all. No, something more.
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Touch Me, Take Me
Performed by Rita Wright See more »
another Bergman experiment, lots of interesting psychological bits
Ingmar Bergman's From the Life of the Marionettes, his last film done while in exile during the late 70's, hearkens back to his experimental period in the mid to late 60's. Here he's trying for a deconstructive way to get inside the mind of his subjects, most notably the character of Peter Egermann. The fatal flaw of the film, however, is also something that adds an unusual kind of connection to the material for a Bergman film. It's erratic in its narrative as the director tests himself with jumping around from different times around a single event. But unlike how this has been done by the likes of Tarantino, this is meant not really as a useful story trick, but to try to get different perspectives and acute angles of the subject at hand. The film doesn't reach its greatness for the same reason that it does keep itself watchable- this is very murky, depressing times, loaded with dialog that may or may not go ways to help explain or give some interest in the supporting/main characters, and some startling, if dated, surreal experiences.
It's also a little strange that Bergman decided to connect these characters, however loosely, to the couple in the first episode of the Scenes From a Marriage series, where Peter and Katarina (then played by Jan Maljsmo and Bibi Andersson) were the volatile arguers who juxtaposed the main focus of the film. Here, portrayed by Robert Atzorn and Christine Buchegger, are not only not as spot-on as the former actors (though they are still quite good and splendid in some scenes), the couple is picked under Bergman's psychological microscope where the relationship is very strained and a fatalistic. The opening scene is definitely a mind-blower, with an intensity and harsh sexual edge that is uncommon to Bergman's films (one of his best openings to be sure). Indeed, one of the nice twists, a little shocking at first and then intriguing, is how the filmmaker lets out inhibitions and shows the more explicit images of nudity and the sensual, as well as rock and disco music.
Along with a fragmented approach to the storytelling, where infidelities, insecurities, shame, depression, and outright rage and confusion are brought out in segments that range from the convincing to missing the mark. In a way, maybe Bergman's aims are lowered this time in exile, and he delves more into a doomed personality with visual surprise. Sven Nyvkist, as usual, is still very good with what he does in the frame, especially as this is 90% black and white (with a strange blue tint at times), and his services come into great use in a visual detailing of a dream involving Peter and Katarina naked in a wide, white space. It's maybe the best sequence in the film. In experimenting with the dramatic interpretations, it's not as successful, and some of the supporting actors aren't as good as the leads (a scene with one of the actors talking into a mirror is one of my least favorite scenes Bergman's ever wrote/directed).
Its obscurity is not, therefore, that staggering to see. But it is a good and occasionally spine-tingling character study, and if you are into the filmmaker's work already it's a find that might prove better or more fulfilling. 7.5/10
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