The Passion of Anna
The Passion of Anna is a 1969 Swedish drama film written and directed by Ingmar Bergman, awarded Best Director at the 1970 National Society of Film Critics Awards for the film. The audience is introduced to Andreas Winkelman, a man living alone and desolate after the recent demise of his marriage, he meets Anna, grieving the recent deaths of her husband and son. She uses a cane as a result of the car crash. While Anna uses Andreas' phone, he listens to her conversation, after which she departs visibly distraught. Anna has left her handbag behind and Andreas searches it, finding and reading a letter from her husband that will prove she is deceptive; the narrative of the film is periodically interrupted by brief footage of the actors discussing their characters. Andreas is friends with a married couple and Elis who are in the midst of psychological turmoil. Elis is an amateur photographer. Eva feels Elis has problems sleeping. One night while Elis is away, Eva visits Andreas, as she is lonely, they listen to music and drink wine, which makes them drowsy, Eva sleeps for several hours.
When she wakes up, they have sex. Afterward, she explains that during her only pregnancy years ago, she went to the hospital to treat her insomnia; the medicine they gave her killed the child. She conveys that it Elis to share a moment of emotional affinity. Andreas visits Elis whom he promised could photograph him. Elis leaves the room for a moment and Eva enters. In their conversation, Eva reveals that Anna has moved in with Andreas, though she is not displeased, she warns him to be wary of Anna. Elis enters the room, their relationship is not passionate, but Andreas and Anna start off content. Anna appears zealous in her faith and steadfast in her search for truth, but her delusions surface—reinforced by what Andreas read in the letter. For his part, Andreas is unable to overcome his feelings of deep humiliation about himself and remains disconnected, further dooming the relationship with Anna, as he prefers solitude and freedom to companionship. Throughout the film, an unknown person among the island community commits acts of animal cruelty, hanging a dog and violently killing cattle.
A friend of Andreas is wrongly accused of these crimes, leading the community to threaten and beat him, catalyzing his suicide. Within a few days of the friend's death and Andreas have a physical fight during which they reveal their strong distaste for each other. Afterwards, Anna lies in bed, they were headed to a large barn fire. When Andreas arrives, he is told that the unknown man, the true culprit of the animal cruelty covered a barn full of animals in gasoline and lit it on fire, locking the animals in, it is obvious to the community that Andreas's friend was unjustly abused and committed suicide because of flimsy human suspicion. Anna shows up at the fire in her car. Andreas gets in; as they drive down the road beside the sea, Andreas explains that he desires his solitude again and that their parting will not be difficult as neither one loved the other. He reveals that he knows the truth about her husband. Anna begins to speed the car, he asks if she is going to kill him like she killed her husband and they fight over the wheel.
He stops the car in the flat ground beside the road. He tells her she is out of her mind. Anna drives away while Andreas paces forth on the side of the road; the film has its origins in Bergman's 1968 film Shame starring Ullmann and Von Sydow. After shooting of Shame completed, Fårö's environmental regulations required the house built for the film be burned, but Bergman had developed an attachment to its appearance and saved it by claiming there were plans to use it in another film, he began writing The Passion of Anna, with Von Sydow and Ullmann still contracted to work with him, envisioned The Passion of Anna as "virtually a sequel." Author Jerry Vermilye wrote that in exploring "the thread of violence intruding on ordinary lives," Hour of the Wolf and The Passion of Anna represent a trilogy. Author Amir Cohen-Shalev concurred. Cohen-Shalev wrote that, like Persona and Shame, The Passion of Anna follows an "artist as fugitive" theme touching on issues of guilt and self-hatred. On Rotten Tomatoes, The Passion of Anna garnered 100% approval among 12 critics.
Vincent Canby argued that "it does seem designed more for the indefatigable Bergman cryptologists than for interested, but uncommitted filmgoers", but praised its lead actors' performances and wrote that "Bergman gives each of them extraordinary moments of cinematic truth, monologues of sustained richness and drama". The film is not considered one of Bergman's greatest works, but retrospective evaluations are still positive. Sam Jordison wrote for Film4, "While it lacks the lightness of touch and smooth flow that distinguishes Bergman at his finest, this is still a powerful, profound work of art." The Passion of Anna on IMDb The Passion of Anna at the Swedish Film Institute Database Four Stories by Ingmar Bergman
Barabbas (1953 film)
Barabbas is a 1953 Swedish drama film directed by Alf Sjöberg. It is based on the novel Barabbas by Pär Lagerkvist about the biblical character, released instead of Jesus; the film was entered in the 1953 Cannes Film Festival. It was one of the biggest Swedish productions of its time. In 1961 an American adaptation of the same novel was released, starring Anthony Quinn in the lead role. Ulf Palme as Barabbas Georg Årlin as Lazarus Hugo Björne as Leper at Death Valley Eva Dahlbeck as The Mother Sture Ericson as Father of hare-lipped Sven-Eric Gamble as Christian in slave caves at Rome Åke Grönberg as Armful watchman at Rome Erik Hell as Man at Jerusalem Anders Henrikson as Roman procurator on Cyprus Barbro Hiort af Ornäs as Maria of Magdala Jarl Kulle as Leper at Death Valley Torsten Lilliecrona as Supervisor at copper mine on Cyprus Peter Lindgren as Soldier which assaulted gang Yvonne Lombard as Prostitute Holger Löwenadler as Thief Stig Olin as Member of Barabbas' gang Per Oscarsson as Boy Gösta Prüzelius as Member of Barabbas' gang Sif Ruud as Fat Woman Gunnar Sjöberg as Supervisor at copper mine on Cyprus Erik Strandmark as Petrus After a year of preparation, shooting started in the spring of 1952 in Israel and Rome, moved to Sweden for interior scenes during the summer.
As the assigned cinematographer Göran Strindberg became ill early during production, the still up-and-coming Sven Nykvist star cinematographer for Ingmar Bergman, had to replace him for the exterior shots. Additional filming occurred into December. Barabbas on IMDb Barabbas at the Swedish Film Institute Database
S.O.S. – En segelsällskapsresa
S. O. S. – En segelsällskapsresa is a Swedish comedy film, released to cinemas in Sweden on 25 December 1988, directed by Lasse Åberg. Lasse Åberg and Jon Skolmen star as Stig-Helmer and Ole, who end up in an archipelago with rich people after a costume party, leading to total chaos! Lasse Åberg as Stig-Helmer Olsson Jon Skolmen as Ole Bramserud Ewa Fröling as Madde Johan Rabaeus as Henkan Per Eggers as Kajan Sten Ljunggren as Didrik Barbro Hiort af Ornäs as Stig-Helmer's mother S. O. S. – En segelsällskapsresa on IMDb S. O. S. – En segelsällskapsresa at the Swedish Film Institute Database
Ruth Elizabeth "Bette" Davis was an American actress of film and theater. With a career spanning 60 years, she is regarded as one of the greatest actresses in Hollywood history, she was noted for playing unsympathetic, sardonic characters, was famous for her performances in a range of film genres, from contemporary crime melodramas to historical and period films, suspense horror, occasional comedies, although her greatest successes were her roles in romantic dramas. After appearing in Broadway plays, Davis moved to Hollywood in the summer of 1930. However, her early films for Universal Studios were unsuccessful, she joined Warner Bros. in 1932, established her career with several critically acclaimed performances. In 1937, she attempted to free herself from her contract, although she lost the well-publicized legal case against Warners, it marked the beginning of her most successful period; until the late 1940s, she was one of the most celebrated leading ladies of US cinema, known for her forceful and intense style.
Davis gained a reputation as a perfectionist who could be combative and confrontational. She clashed with film directors, as well as many of her co-stars, her forthright manner, idiosyncratic speech, ubiquitous cigarette contributed to a public persona, imitated. Davis was the co-founder of the Hollywood Canteen, a club venue for food and entertainment for servicemen during WWII, was the first female president of the Academy of Motion Picture Arts and Sciences, she won the Academy Award for Best Actress twice, was the first person to accrue 10 Academy Award nominations for acting, was the first woman to receive a Lifetime Achievement Award from the American Film Institute. Her career went through several periods of eclipse, she admitted that her success had been at the expense of her personal relationships. Married four times, she was once widowed and three times divorced, raised her children as a single parent, her final years were marred by a long period of ill health and a tell-all book, My Mother's Keeper by daughter B.
D. Hyman, but she continued acting until shortly before her death from breast cancer. With more than 100 film and theater roles to her credit during her six-decade-long career. In 1999, Davis was placed second behind Katharine Hepburn on the American Film Institute's list of the greatest female stars of the Classic Hollywood cinema era. Ruth Elizabeth Davis, known from early childhood as "Betty", was born on April 5, 1908, in Lowell, the daughter of Harlow Morrell Davis, a law student from Augusta and subsequently a patent attorney, Ruth Augusta, from Tyngsboro, Massachusetts. Davis' younger sister was Barbara Harriet. In 1915, Davis' parents separated, Davis attended a spartan boarding school called Crestalban in Lanesborough in the Berkshires. In 1921, Ruth Davis moved to New York City with her daughters, where she worked as a portrait photographer. Davis changed the spelling of her first name to "Bette" after Honoré de Balzac's La Cousine Bette. During their time in New York, Davis became a Girl Scout who proved so successful she ranked as a Patrol Leader.
Davis attended Cushing Academy, a boarding school in Ashburnham, where she met her future husband, Harmon O. Nelson, known as "Ham". In 1926, a 18-year-old Davis saw a production of Henrik Ibsen's The Wild Duck with Blanche Yurka and Peg Entwistle. Davis recalled for Al Cohn of Newsday, "The reason I wanted to go into theater was because of an actress named Peg Entwistle." She auditioned for admission to Eva Le Gallienne's Manhattan Civic Repertory, but was rejected by LeGallienne, who described her attitude as "insincere" and "frivolous". Davis auditioned for George Cukor's stock theater company in New York. Ed Sikov sources Davis' first professional role to a 1929 production by the Provincetown Players of Virgil Geddes play The Earth Between. In 1929, Davis was chosen by Blanche Yurka to play Hedwig, the character she had seen Entwistle play in The Wild Duck. After performing in Philadelphia and Boston, she made her Broadway debut in 1929 in Broken Dishes, followed it with Solid South. In 1930, 22-year-old Davis moved to Hollywood to screen test for Universal Studios.
Davis and her mother traveled by train to Hollywood. She recounted her surprise that nobody from the studio was there to meet her. In fact, a studio employee had waited for her, but left because he saw nobody who "looked like an actress", she was used in several screen tests for other actors. In a 1971 interview with Dick Cavett, she related the experience with the observation, "I was the most Yankee-est, most modest virgin who walked the earth, they laid me on a couch, I tested fifteen men... They all had to give me a passionate kiss. Oh, I thought. Just thought I would die." A second test was arranged for the 1931 film A House Divided. Hastily dressed in an ill-fitting costume with a low neckline, she was rebuffed by the film director William Wyler, who loudly commented to the assembled crew, "What do you think of these dames who show their chests and think they can get jobs?". Carl Laemmle, the head of Universal Studios, considered terminating Davis' employment, but cinematographer Karl Freund told him she had "lovely eyes" and would be suitable for Bad Sister, in which she subsequently made her film debut.
Giulietta Masina was an Italian film actress, best known for her performances of Gelsomina in La Strada and Cabiria in Nights of Cabiria. Both films won Academy Awards for Best Foreign Language Film and were described by their director Federico Fellini as having been "inspired" by Masina's "humanity."Italian cinema historian Peter Bondanella described Masina's work as "masterful" and "unforgettable," and Charlie Chaplin, with whose work Masina's is compared, called her "the actress who moved him most." Giulia Anna Masina, the oldest of four children, was born in San Giorgio di Piano, near Bologna. Her father was a violinist and her mother was a schoolteacher; when Masina was four, her uncle took her to meet the Italian playwright Luigi Pirandello, to win the Nobel Prize in literature. A few years when this uncle passed away, his widow, Masina's aunt, asked Masina's parents if they would allow her to come to Rome to stay with her. Masina's parents agreed, in part because they believed that in Rome Masina would have more success in the arts, for which she was demonstrating a unique talent.
Masina attended an Ursuline convent school and took lessons in voice and dance. Her first experiences acting took place during World War II as part of the theater section of Rome's Gruppi Universitari Fascisti, a state-sponsored but university-student-led arts organization, she graduated with a degree in Literature from Sapienza University of Rome. She began to work as a voice actress on radio during the war, which earned her more money and attention than stage acting, it was as a radio artist that Masina met a radio show screenwriter. They married in 1943, a few months Masina suffered a miscarriage after falling down a flight of stairs. In 1944, she became pregnant again. Masina and Fellini had no other children. Masina died from cancer on 23 March 1994 at age 73, five months after her husband's death on 31 October 1993. For her funeral, she requested that trumpeter Mauro Maur play "La Strada" by Nino Rota, a poignant leitmotif from the film, she and Fellini are buried together at Rimini cemetery in a tomb marked by a prow-shaped monument, the work of sculptor Arnaldo Pomodoro.
Working together with her husband, Masina made the transition to on-screen acting. Half of her Italian films, the most successful ones, were either directed by her husband. Masina made her film debut in an uncredited role in Rossellini's Paisà, credit for the script being given to Fellini, she received her first screen credit in Lattuada's Without Pity, another adaptation by Fellini and played opposite John Kitzmiller. In 1954, she starred with Anthony Quinn in Fellini's La Strada, playing the abused stooge of Quinn's travelling circus strongman. In 1957, she won the Best Actress Award at the Cannes Film Festival for her portrayal of the title role in Fellini's Nights of Cabiria, she played a prostitute who endures life's tragedies and disappointments with both innocence and resilience. In 1960, Masina's career was damaged by the critical and box office failure of The High Life. Subsequently, she became dedicated entirely to her personal life and marriage. Nonetheless, she again worked with Fellini in Juliet of the Spirits, which earned both the New York Film Critics award and the Golden Globe award for Best Foreign Language Film.
In 1969, Masina did her first work in English in The Madwoman of Chaillot, which starred Katharine Hepburn. After two decades, during which she worked sporadically only in television, Masina appeared in Fellini's Ginger and Fred, she rejected outside offers in order to attend to her husband's precarious health. Her last film was Jean-Louis Bertucelli's A Day to Remember. In the late 1960s, Masina hosted a popular radio show, Lettere aperte, in which she addressed correspondence from her listeners; the letters were published in a book. From the 1970s on, she appeared on television. Two performances, in Eleonora and Camilla were acclaimed. Masina is referred to favorably as Fellini's "muse,", a term, that feminist scholars have argued can eclipse consideration of women's roles as thinkers and artists in their own right. A recent critic has suggested that "perhaps the time has come for the field of Fellini studies to properly reassess creative role in the making of some of her husband's masterpieces."
Italian National Syndicate of Film Journalists: 4 Silver Ribbon awards. Best Actress: Nights of Cabiria and Fred Best Supporting Actress: Without Pity, Variety Lights She was twice nominated for a BAFTA Film Award for Best Foreign Actress. David di Donatello: 2 David awards David di Donatello for Best Actress award, by Juliet of the Spirits Honorary award. Cannes Film Festival Best actress award, by Nights of Cabiria. San Sebastián film festival Best actress award, by Nights of Cabiria. Giulietta Masina on IMDb Giulietta Masina at AllMovie Giulietta Masina at the RAI Giulietta Masina at Find a Grave