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Title: Fanny and Alexander (1982)
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| Cast overview, first billed only: | |||
| 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) |
|
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Majlis Granlund | ... | Miss Vega - Ekdahlska huset |
|
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Maria Granlund | ... | Petra Ekdahl - Ekdahlska huset |
| Bertil Guve | ... | Alexander Ekdahl - Ekdahlska huset | |
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Eva von Hanno | ... | Berta - Ekdahlska huset |
| Sonya Hedenbratt | ... | Aunt Emma - Ekdahlska huset | |
It's the early twentieth century Sweden. Adolescent siblings Alexander and Fanny Ekdahl lead a relatively joyous and exuberant life with their well-off extended paternal family, led by the family matriarch, their grandmother, Helena Ekdahl. The openness of the family culture is exemplified by Helena's now deceased husband ending up becoming best friends with one of her lovers, a Jewish puppet maker named Isak Jacobi, and their Uncle Gustav Adolf's open liaison with one of the family maids, Maj, who everyone in the family adores, even Gustav Adolf's wife, Alma. Between the siblings, Alexander in particular has inherited the family's love of storytelling, his parents and his grandmother who are actors and who manage their own theater. Things change for Alexander and Fanny when their father, Oscar, dies shortly after Christmas 1907. Although she truly does believe she loves him, the children's mother, Emilie, decides to marry Bishop Edvard Vergérus, who she first met as the officiate at ... Written by Huggo
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"Fanny and Alexander" (1982) was announced at the time of its release as Ingmar Bergman's swan song, his last film for the big screen. It is his most optimistic and enchanting blend of romance, tragedy, comedy, fantasy, and mysticism. Set in Sweden in the beginning of the 20th century, the film follows the lives and adventures of two children, brother and sister Fanny and Alexander Edkahl.
I love Bergman in every mood and in every genre - I love him dark, bleak, harrowing ("Shame"), mysterious ("Persona"), merciless and devastating ("Scenes from a Marriage, "Face to Face", "Autumn Sonata). I love his lighter, smiling side ("Wild Strawberries", "Smiles of a Summer Night). Even for a master of Bergman's powerful talent, "Fanny and Alexander" is extraordinary - a profound film which is also one of his most accessible works.
Pablo Picasso said once, "When I was 9 years old, I could paint like Rafael; as an adult, all my life I tried to learn how to paint like a child". In his final film, one of the greatest masters of dark and sometimes morose psychological studies looks at the world with a child's eye. The words he chose to finish his film with reflect the hope, the happiness and the magic that can be fully felt only in one's childhood: "...Anything can happen, anything is possible. Time and space do not exist. ..On a flimsy ground of reality, imagination spins out and waves new patterns." --- August Strindberg's introductory notes for A Dream Play.