The art of Ingmar Bergman reaches its pinnacle (Life) in this penetrating portrait of fourlost souls seeking solace in one another, even as their lives are torn apart by deception, isolation and psychological turmoil. On a windswept, barren island, Andreas (Max von Sydow) lives simply and quietly until he becomes entangled with Anna (Liv Ullmann), a beautiful, mysterious widow, and a neighboring couple (Bibi Andersson, Erland Josephson) harboring their own sorrows and illusions. But soon, secrets from Andreas and Anna’s pasts threaten to shatter not only their desperate attempt at love but their tenuous hold on reality as well. –amazon
The most famed and honored filmmaker ever to emerge from the nation of Sweden – and regarded by many as one of the three or four most brilliant directors of the 20th century – Ingmar Bergman radically altered the nature and meaning of the motion-picture form, transfiguring a medium long devoted to spectacle into an art capable of profoundly personal meditations into the myriad struggles facing the psyche and the soul. By focusing on the exploration of self with unparalleled intensity, Bergman brought to the screen a new sense of emotional intimacy, fusing the concepts behind Freudian psychotherapy with a dreamlike sensibility founded on visual metaphors, flashbacks, and extreme close-ups to create a revelatory cinematic world unlike any before it.
Born Ernst Ingmar Bergman on July 14, 1918, in Uppsala, Sweden, he followed a brief 1938 military stay by attending Stockholm University. While there, he staged his first plays, among them adaptations of Macbeth, August Strindberg’s… read more
Bergman’s leap to colour gives En passion a unique feel; his quartet as the fractured individuals whose connivings collide, in claustrophobic bourgeois social drama. Meanwhile, the spirit of Persona lives on, its blurring of narrative boundaries: interviews with actors discussing their characters, in lieu of inner monologue; omniscient narration from Bergman himself as author; testing of new colours, shadows, lighting, edits. Bare-naked as psychologia; more intriguing as deconstruction of the filmography, in varied experiment.
A look at the subtle and multilayered use of color in The Passion of Anna (1969).
Ingmar Bergman’s 1969 postmodernist work, The Passion of Anna, is arguably, the last installment in a four-film series dealing with themes of deconstruction, existentialism and personality disintegration… read review