Nykvist produced one of the great cinematographic works in Bergman's mid-career masterpiece. I'm not sure anyone would ever want to live in a blood red house in real life, but the stylisation makes for an arresting 90 mins, with Bergman exploring his psychological preoccupations in sometimes excruciating depth. 2K restoration and HD TV sets have reinforced for home viewers the full quality of Bergman's filmmaking.
it consists of varying ethical distances between bodies for example: 'i received the most wonderful gift anyone can receive in life. its is called many things: togetherness, companionship, relatedness, affection. i think this is what is called grace'; 'i could feel the presence of their bodies, the warmth of their hands' compared to 'dont touch me! dont come near me!', the 'indifference', 'hate' and class-divisions.
De la mort, de la souffrance, et de l'âme, couleur carmin, qui teinte les décors, les costumes, jusqu'à la pellicule. Magnifique invention que cette trilogie blanc/rouge/noire ! Devant ce travail de l'image, on a peine à croire que le metteur en scène ait eu l'intention de montrer une femme atteinte d'un "cancer de l'utérus". Une curieuse surinterprétation qui en dit long sur l'angoisse actuelle de la mort.
A completely devastating piece of filmmaking that makes you disgusted by the characters on screen and looking for solace in your personal life. A film that is so disturbing that it makes you want to be more kind and open to other people. It's another masterpiece by Bergman about the dark depths of the human condition. A film that shakes you up and makes you want to share hugs with anyone who might need them.EMOTIONAL
I'm so sorry, but watching this in 2018 just felt so misogynist, over-the-top and campy. Freud explaining female hysteria to his pals. This film completely undermines the characters and instead merely focusses on exteriority (furniture, costumes, bodies). De-canonize this film, please.
The fades to red/black really struck me and stuck with me. This film is so mind-bending and heart-rending, and there's so much going on mood and genre-wise. There's mostly melodrama/family drama, but also even some... horror, I think? And some gasp-worthy moments, in its own calm way. I loved this.
★★★½ /DCP/ A visual masterpiece of demented Victorian oppression, saturated in feminine hysteria. Bergman bathes in emotional anguish, projecting its chaos on a group of sisters, disintegrating within an opulent mansion. Narratively murky, more an expressionist piece of art, working out Bergman’s own personal wounds, an expression of his fascination and fear of women. Anderson and Thulin, both stupendous.