"When I was young, I thought God had a beard." Is it just me, or is there some bizarre la nouvelle vague influence in this? Very disturbing at points. Too many close-ups. Good production design.The architecture choices are quite interesting. The discoveries of the puppy and the woman sleeping in her car really got me. The cart image is nice. I like the idea of the two-couple psychoanalytical drama more than its execution here. "You have cancer of the soul."
Good, but not among the major Bergman-Nykvist collabs IMO. The self-reflexive, formatted narrative is fine--though, as with most of Bergman's avant garde gestures, it carries little conviction compared to the work of his more radical contemporaries--but it precludes the in-the-moment fervor that he needs to complement his morbidity. The sense of psychological horror is more theoretical than anything else.
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.
Bergman en estado puro: desde el comienzo ya sabemos que este personaje es un ser torturado, y la aparición de las dos mujeres añade más depresión a su alma. Eso, y las mentiras que no pueden distinguirse de la verdad. Nunca sabremos nada, aislados. Excelentes interpretaciones, fotografía, todo...
The protagonists of Bergman's masterly drama are all damaged souls and their pain and miseries are deeply felt and eloquently expressed by a director who had also centred his previous films Hour Of The Wolf and Shame on isolated social groups. The coldness of a bleak winter on a Swedish island is reflected in Nykvist's muted colour photography, appropriate for a film of such icy intensity. Never less than riveting...
I think this is one Bergman's most powerful and most underrated films. The final shot is pure cinema, and I think one of the most potent images I've ever seen.
The self-referential, metaphysical, and modernist aspects of this film show that Bergman was still experimenting even when he had ensured his place on cinematic history. The experimentation- seeing the actors talk about the characters WITHIN the film- is one of the most intriguing moments of his oeuvre. However, these may turn off viewers, who may prefer the religious or existentialist issues of his earlier films.
Not my favorite by Bergman,at times frustrating to watch.If there is a film that should not have 'Passion' in the title,this is it.
Postmodernist deconstructivism a la personality disintegration... more self-reflective cinema in a strikingly metacinematic period of Bergman's cannon.