Although visually striking in its stylisation, the familiar themes of dislocation and isolation are less rigorously pursued here than in other Bergman works, at least in the spoken word. The clear visuals - nods to Resnais, Antonioni and Fellini - feel like just another way of arranging the nihilistic furniture, this time in expressionistic patterns of ennui. Perhaps I prefer my godless void in a tighter chamber.
Only the male lover remains silent and yet he has a language of his own. On the other hand, the young boy can learn this language, and he does learn a part of it: head, hands; required items for desire. What country has this family been to? One of pleasures, I think, and what happens to each one should be seen from that angle.
oci su ti sklopljene, usne su ti umorne, ne ljubi me njima, nisu cvorci pevali dok je iznad krovova svirala tisina (za severusa, koji me je navukao na ovu pesmu iako mrzim bajagu). p.s. iz ovog se filma najbolje secam close-upa uzicke sljivovice (ako ne racunam frojdovska sranja) :D p.p.s kako je dobro kad niko ne razume tvoj jezik :D
Always nice to watch a film and suppose how it influenced other directors by finding common elements between different films from different times. Maybe it's just my obsession with Lynch, but as I watched the first half of the movie I felt it could have been a great inspiration for him (One star is for Sven Nykvist)
Bergman concludes his loose “Silence of God” trilogy with what may be the best installment. The director’s usual harrowing emotions and creeping macabre find claustrophobic heights, with one instance so much so that it ends up being one of his most impactful and frightening.
Una relación filial que se complementa, pero a la vez se repele. Ellas se aman y se odian. Es la hermana intelectual y la libertina. Una corrige y la otra es víctima del resentimiento; es el pasado acumulado, una constante del director. En "El silencio" un viaje es metáfora del estado de incomprensión de un niño, que está en medio de una nación en crisis, un idioma que no entiende. Un espacio de juego y de conflicto.
Immensely contemplative, The Silence is never a bore. Bergman's complex display of emotions and appealing imagery make this film such a delight to watch. Absolutely loved the different spectrums of sexuality displayed, from Esther to the unknown couple to Anna's kinda "rebellious" detached affair. The dwarfs, I feel, seem to appear to separate the first, second and final act of the film.
(...)Wenig später, informiert Anna die Sterbende, dass sie mit Johan abreisen würde. Bereits mit dem nächsten Zug. Johans Versprechen, sie würden bald zurück sein - der Wunsch eines Kindes. Doch kann der Wunsch eines Kindes Bestand haben beim Eintritt ins Erwachsenenalter? Kann das sein in der Annahme, dass Gott schweigt?
Bergman was a man of the theater; look at his 50s canon, and you'll see how much he emulated classics and chamber plays. Which makes The Silence something new: a work of rigorous cinematic modernism that enters Antonioni territory (fashionable alienation, long silences) but does it better, with richer characters. An abstract & emotionally brutal film. The sex would shock the moral majority today, let alone in 1963.
Bergman's devastatingly ironic play on alienation as the inescapable aftermath of some metaphysical Babel. Fugitive and rootless ("What's this town called, Mama?") in a disorienting, nightmarish world of "horrible forces", every salvaged scrap of meaning distorted in translation, we become resigned to silence, are remade in the image of our silent God. Deliciously wry, if thoroughly bleak, culmination of the trilogy.
The first 10 minutes were like a dream. The form was wonderful, and visually so impressive, and quite a sensual/erotic segment. Although still a good film, it became less interesting as it is progressed; my interest drifted mid way through. For it's time, an impressive work, and the first 45 mins may be some of the earliest precursor of contemplative cinema I have seen.