If those who have read the script are to be believed, Bergman, as well as giving Ullmann her best roles as an actress, has now also provided her with her best screenplay." [Art Index]
Considers how these three middle works were crucial not only to Bergman's artistic development but also are a cultural marker for the transition from modernism to postmodernism.
While the theatrical version of Fanny and Alexander can be obtained on a single Criterion DVD, the five-disc set is enthusiastically recommended, first and foremost because of the five-hour version of the film that it offers--this television version adds an epic dimension well worth the extended viewing time.
He wrote his own films and directed them exactly as he wanted, keeping himself well apart from the vanities and commercial obsessions of the industry." [Art Index]
Also particularly recommended is The Making of Fanny and Alexander, a documentary that allows viewers to participate, without any voice-over commentary or any added interviews, in a minuscule number of the setups that went into the construction of Bergman's magnificent edifice." [Art Index]
Between making the two versions of "Intermezzo, Ingrid worked on the Swedish films "En Enda Natt" ("Only One Night") and "En Kvinnas Ansikte"("A Woman’s Face), among others, and the German film Die Vier Gesellen.
10 Best Films of 1957.A jump cut -- Patricia in a car with Michel driving. . Bertolt Brecht issue: Cahiers du cinéma, no.
Later, Bergman admitted that the character of Borg was an attempt to justify himself to his own parents, but that Sjostrom had taken his text, made it his own and invested it with Sjostrom's often painful experiences. It is still, however, chiefly concerned with forgiveness between parents and children and the lost possibilities of youth.
Bergman uses minimal composition and extremely tight close-ups to illustrate the theme of psychological deconstruction. Note the prevalent use of single camera shots throughout the duration of a scene. The lack of camera movement forces us to study the characters' faces. , after all, as the title suggests, is not about who the person actually is, but the different identities, or facades, that the person projects. Figuratively, Elisabeth Vogler, having played the role of celebrity, wife, and mother, has decided to abandon her persona and walk off the stage. A variation on the idea of duality provides an essential ingredient to the plot development. The themes of experience, children, and romantic relationships take on very different meanings for the two women. Alma seems to covet what Elisabeth has, but she has deliberately chosen other paths. Note the monologue that is shown twice: one showing a close-up of Alma, and the other of Elisabeth. It is a scene about regret, frustration, and denial. The effect illustrates how different, and yet similar, these two women are... and how cruel and destructive the human will can be.
The other often neglected aspect of Wild Strawberries is that most of it was shot deep in the Swedish countryside so that its characters pass through a natural world that seems at odds with their own impermanence but whose beauty also seems somehow to instruct them.
If the theme of Wild Strawberries is how life can become atrophied and sterile - often repeated from generation to generation - Bergman's working out of his argument is extraordinarily detailed, since almost all those in the film to whom this applies have no idea what is happening to them.
Isak's admired and respected mother, for instance, is slowly revealed as hard and mean-spirited, though not to herself. And it is only when his daughter-in-law Marianne (Ingrid Thulin) speaks honestly to him in the car that Isak begins his journey of self-recognition.
One of the prime reasons is what can only be described as the transcendent performance of Victor Sjostrom as Professor Borg. Sjostrom was the great Swedish silent-era director, who died aged 80, not long after the film was completed and whose The Phantom Carriage had so influenced Bergman. It was he who made the final scene one of the most serene of all Bergman's endings. "Sjostrom's face shone", said the director. "It emanated light - a reflection of a different reality, hitherto absent. His whole appearance was soft and gentle, his glance joyful and tender. It was like a miracle".