Man kann das Schweigen auch aus der Perspektive des Jungen erleben - dann ist die Perspektive traumatisch. Die beiden kurzen Sexszenen wurden vom Publikum der 60er zu Unrecht skandalisiert, der emotionale Zustand der Frauen hätte der wahre Skandal sein müssen. Überall herrscht Krieg: draußen und im Inneren - die einzige Stabilität vermittelt der alte Hotelangestellte in tiefer Menschlichkeit und Demut.
Pure Bergman, but at the same time one of his most impenetrable films. There is a profound malaise that divides the two sisters and that is never fully examined. Their contrast is brutal, with the background of an almost dreamlike setting. The screenplay is less relevant than other Bergman films and dialogues are less numerous. All this makes "The silence" a dark work, the narration of a hopeless relationship.
Bergman drives a knife into the pit of your stomach and twists it three times. This is truely cinema of cruelty. Two sisters with a chaotic past drag a son to somewhere in French Algeria- one suffers from tuberculosis and is starved of affection. The other lives for a thrill and selfishly neglects her sister to punish her from past torment. A harrowing film.
35mm. As typical 60s arthouse as it gets. Alienation, lack of communication, all the good stuff. Bergman is perhaps not as fashionable as Antonioni, another of the 60s giants, now, but 100 years after his birth I'm rediscovering him. My feeling is that the unnamed country is closest to Hungary. Often refered to as a pre-study to the great, devastating Persona.
A beautiful film about the complex relationships that can exist in families. While sometimes the sisters are very loving towards each other, other times they are particularly brutal. The most brutal line in the film was "remember at father's funeral how you said you couldn't bear to go on? Then why are you still here?" Damn. Bergman directs this weighty drama masterfully and its one of his best from the decade.
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.