THRIST is a rare early Bergman in which the maestro is not officially accorded any role in the composition of the screenplay. And what a bewildering and vertiginous bit of writing it is, layered like a lasagna and teeming with fantastically ribald business. Bergman has taken this screenplay and hurled a cinematographic fusillade at it, assisted in no small way by a fascinating and volatile performance by Eva Henning.
Based on short stories. Rehash of themes already handled in 'It Rains on Our Love' and 'Port of Call' (Abortion and Loss of a Baby), in 'Music in Darkness' (Despair after giving up one's artistic occupation), and in 'The Devil's Wanton' and 'Music in Darkness' (The symbolical Dream). What's new here is the number of travellings: Ingmar Bergman is little by little mastering his camera. Recommended.
Bergman as gun-for-hire. The story he has to deal with is a pretty standard melodrama. He cannot transcend the material, but there are a couple of notable lines in this movie like, "There's too much nudity in this marriage", and "I'm an honest man. I've never tried to hide the fact I have two women. Any healthy man has to have two women. There are sly devils with more, and that's just indecent."
Ainsi pour Ingmar Bergman, "Un océan de larmes sépare les hommes des femmes, comme la mer séparait le fleuve Alphée de la nymphe Arethuse, changée en source". (dixit le réalisateur.) Puisqu'il ne reste plus qu'à vivre un enfer, mais du moins, vivons-le ensemble... www.cinefiches.com
6/10 (25. 08.2016). through the thirst, thirst of drink how symbolism, Bergman shows our way to escape from painful memories. And all our being, our meaning - it is a really thirst, what was said in the last tense of film. all we want to have. thirst of life - love.