Flits half-seen through a curious crawl-space. Incredibly vivid, sometimes almost grotesquely so. A dream of Dickens or Woolf's 'To The Lighthouse' misnarrated by a child. Alexander is a curious little boy but I've never felt so connected to a child protagonist. I suspect the the full 5-hour version will complete the revelation offered here (since I especially love Bergman's dream sequences!)
Just when I thought I'd seen Bergman's best, I see this and shake my head in wonder. How can one man have such illumination inside him and so many profound thoughts? This feels like one of his most personal and accessible films to me. A fight between familial love and that hard love often carried by religion and the church. A must watch for Bergman fans, and a clear evocation of his demons.
From the opening scenes, the framing and visual direction is masterful. What colours! A sprawling family saga which is perfectly performed and observed - especially a heart wrenching Alexander and a chilling turn from the Bishop. A film which understands that reality is subjective, especially when it comes to children who are made to suffer.
Yet another fantastic film from a director who is now one of my firm favourites. This mixes scenes of adult drama with a number of scenes showing the way the two main children are viewing the people and events around them. Slow, dream-like on numerous occasions, and riveting.
"Prenez la voiture à bras !" C'était le temps des "voitures à bras", des immenses appartements avec des rideaux, des tapis, des vases, des tables de banquets longues, carrées, ovales, des habitants dansant, chantant, baisant, hurlant, le temps des fantômes et des revenants, du théâtre, des marionnettes et des momies, des voyants et de la magie. J'avais oublié que Bergman pouvait être si proche de Raoul Ruiz.