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.
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
Ingmar Bergman stated in an interview that the Ekdahl family was named after the Ekdal family in Ibsen's play The Wild Duck. See more »
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 »
Ekdahlska huset - Oscar Ekdahl:
My dear friends, for 22 years, in the capacity of theater manager, I've stood here and made a speech without really having any talent for that sort of thing. Especially if you think of my father who was brilliant at speeches. My only talent, if you can call it that in my case, is that I love this little world inside the thick walls of this playhouse, and I'm fond of the people who work in this little world. Outside is the big world, and sometimes the little world succeeds in reflecting the big ...
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You could call this my opinion of Bergman's Fanny and Alexander...as opposed to a review. I really don't feel the need in describing or summarizing this film. Any review, as I see it, would be pointless. Words just can't convey what makes a truly great movie as good as it is. The best "review" I could give Fanny and Alexander is to just see the damned thing. If you can't sit through it, so be it. But, those who are willing to give it their attention, I promise, will be rewarded continuously through the film's duration. Anyone who sits through the entire film, especially the full-length version, I think, will find it difficult to say that they were bored. More than likely, they will find it easy to say, "That was a damned good movie." I, myself, was surprised. Previous to seeing F&A, I had never seen a film quite this long. I'm glad I did. I'll also throw this in: most film buffs, I think it's safe to say, will always consider Bergman to be the master of gloom. This may be true, but I think Fanny and Alexander proves beyond any doubt that his ability to express the joy that exists in life is every bit as great, and truly refreshing.
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