I recognize in MARIONETTES characteristics of culmination. It is a highly advanced assessment of psychic rot and apocalyptic inertia in the absence of spiritual values. Bergman's cinema is, of course, always about society, and frequently about what one might call the pestilential development of the twentieth century. This German film cannot help be especially emblematic. He was clearly always haunted by the Nazis.
'I need intimacy terribly. Where does one find it? Always the same torment. I'm driven by forces I don't control. Doctors, lovers, pills, alcohol, work. Secret forces I can't master. I stare at my face in the mirror and in this combination of blood, flesh, nerves and bone, there are two separate entities. The dream of intimacy, tenderness, togetherness and on the other hand violence, filth, horror, death'.
What motivates the homicide at the beginning? Bergman serves us a series of episodes from which we have to draw evidence and assemble our conclusions, our interpretation. Though, at the same time, the finale appears to define a truth as well. That, coupled with characters' elusiveness, generates ambiguity and stimulate the viewer to define the meaning of the whole story: one of the principles of cinema.
35mm. I had to remind myself several times while watching this that it was not a Fassbinder film. Not only the German language, but the prostitute, the gay character (I was, maybe without a good reason, surprised to see a gay man in a Bergman film), the mirror sequence and the cold West-German atmosphere. 3.5
The indulgent & psychosexual Bergmanian monologue. Nothing in life, of course, is as "deep" or layered. For some reason or another Bergman's couples remind me of my youth. Maybe because I watched his movies so much then. Maybe because I was so anxious & depressed. I don't think love is as convoluted, not anymore. Maybe there is only contentment. Love like this is a fiction, angst, reaction against capitalism.