Cries and Whispers
Cries and Whispers is a 1972 Swedish film written and directed by Ingmar Bergman and starring Harriet Andersson, Kari Sylwan, Ingrid Thulin and Liv Ullmann. Cries and Whispers marked a return to traditional Bergman themes such as faith, the psyche. Unlike his previous films, it uses saturated colour, especially crimson, after several unsuccessful experimental films and Whispers was a critical and commercial success. It received five Academy Award nominations including one for Best Picture and it was for the colour and light scheme that the cinematographer and long-time Bergman collaborator Sven Nykvist was awarded the Academy Award for Best Cinematography. Cries and Whispers takes place in a mansion in the 19th century, filled with red carpets. It depicts the final days of Agnes, who is near death due to cancer and her sisters Maria and Karin have returned to the family home to be with her. However the two women remain distant and awkward, struggling to comfort their sister while dealing with the shock, the deeply religious maid Anna, whose own daughter died at an early age, is the only person in the house able to comfort the dying woman.
At length Agnes dies and during her wake the priest declares Agnes faith was stronger than his own. In a dream-like sequence that follows Agnes seemingly returns to life for a moment and asks her sisters one last time for the love. For a moment Karin and Agnes grow closer to each other, once again only Anna is able to embrace and comfort Agnes. The film is characterized by flashbacks that visit the characters lives and their memories, the last flashback, from the deceased Agnes point of view, is narrated via her diary and shows her sisters descending upon the house clad in white, like angels. The last words are Agnes whispering, Come what may, this is happiness, I cannot wish for anything better. Now, for a few minutes, I can experience perfection, and I feel profoundly grateful to my life, which gives me so much. Bergman decided to shoot the film in Swedish and not in English, and to finance Cries and Whispers through his own production company, Cinematograph. Although he used personal savings of 750,000 SEK and loans of 200,000 SEK, he had to ask the Swedish Film Institute for support with the 1.5 million SEK budget, to some criticism.
To save costs, the actresses and Nykvist gave their salary as a loan and were nominally co-producers. In his book Images, Bergman wrote, Today I feel that in Persona—and in Cries, and that in these two instances when working in total freedom, I touched wordless secrets that only the cinema can discover. In an essay with the DVD, the critic Peter Cowie quotes the director, All of my films can be thought of in terms of black and white, except Cries and Whispers
Persona (1966 film)
Persona is a 1966 Swedish psychological drama film written and directed by Ingmar Bergman and starring Bibi Andersson and Liv Ullmann. Persona’s story revolves around a nurse named Alma and her patient, a well-known stage actress named Elisabet Vogler. The two move to a cottage, where Alma cares for and talks to Elisabet about intimate secrets, Bergman wrote the film with Ullmann and Andersson in mind for the lead parts, and some idea of exploring their identities, and shot the film in Stockholm and Fårö. Often categorized as a horror, Persona deals with themes of duality, insanity. In its release, the film was subject to cuts because of its subject matter. It won the award for Best Film at the 4th Guldbagge Awards and was Swedens entry for consideration for the Academy Award for Best Foreign Language Film. Many critics consider it one of the greatest films ever made, the film has influenced many directors, such as Robert Altman and David Lynch. One of these women is possibly Alma, a nurse who is assigned by a doctor to see a patient.
Elisabet is an actress who has suddenly fallen silent and still, although the doctors have determined it is not a result of physical illness or hysteria. While at the hospital, Alma reads Elisabet a letter from her husband and she becomes distressed seeing TV footage of monk Thích Quảng Đứcs self-immolation in the Vietnam War. The doctor decides Elisabet will recover better in a cottage by the sea, while at the cottage, Alma talks to Elisabet, remarking no one has ever really listened to her before. She speaks about her first affair and her fiancé, Karl-Henrik, one night, she relates how, while in a relationship with Karl-Henrik, she was sunbathing in the nude with a woman she had just met named Katarina, when two young boys came along. Katarina initiated an orgy in which Alma became pregnant, and she had an abortion, Alma drives to town to deliver their letters, but sees Elisabets is unsealed. She reads it, and finds Elisabet has written she is studying Alma and has told of Almas orgy, Alma accuses Elisabet of using her, though she does not know for what purpose.
In a resulting brawl, Alma attempts to scald Elisabet with boiling water, but stops when Elisabet cries for her to not to, Alma tells her she knows she is a terrible person, and when Elisabet runs off, Alma chases after her and begs for her forgiveness. Elisabet sees the Stroop Report photograph of Jews arrested in the Warsaw Ghetto, one night, Alma hears a man outside calling for Elisabet, and finds it is the husband, Mr. Vogler. Mr. Vogler addresses Alma as Elisabet, despite her telling him he is mistaken, Alma meets with Elisabet again, feeling a need to talk about why Elisabet tore the photo of her son. Alma reveals much of Elisabets story, that she wanted the only thing she did not have, to be a mother, Elisabet came to regret the decision, and attempted self-induced abortion, but gave birth to a boy she hates
Songs from the Second Floor
Songs from the Second Floor is a Swedish black comedy-drama film which was released to cinemas in Sweden on 6 October 2000, written and directed by Roy Andersson. It presents a series of disconnected vignettes that together interrogate aspects of modern life, the film uses many quotations from the work of the Peruvian poet César Vallejo as a recurring motif. It is the first film in a trilogy, followed by You, a man is standing in a subway car, his face dirty with soot. In his right hand he carries a bag with documents, or rather. In a corridor a man is clinging desperately to the legs of the boss who just fired him and he is screaming, Ive been here for thirty years. In a coffee shop someone is waiting for his father, who just burned his furniture company for insurance money, the main men all have goals but their destinations change during the story. Roger Ebert of Chicago Sun-Times gave the four stars out of four and wrote, You may not enjoy it. Anton Bitel, writing for Eye for Film, felt that the heavy symbolism overwhelms the storytelling, on review aggregator Rotten Tomatoes, the film received an 89% approval rating, based on 35 reviews, with an average rating of 7. 5/10.
On Metacritic, the film was given a score of 76 out of 100, based on 14 critics, indicating generally favorable reviews. V
The Silence (1963 film)
The Silence is a 1963 Swedish film written and directed by Ingmar Bergman and starring Ingrid Thulin and Gunnel Lindblom. The film is the third in a series of related films, following Through a Glass Darkly and Winter Light. Against expectations of the filmmakers, it was a box office hit, the film was noted for its frank depiction of sexuality and won the award for Best Film at the 1st Guldbagge Awards. It is regarded favorably by modern critics, two emotionally estranged sisters and Anna, and Annas son, Johan, a boy of 10, are on a night train journey back home. Ester, the sister and a literary translator, is seriously ill. Anna coldly assists her, seemingly resenting the burden and they decide to interrupt the journey in the next town called Timoka, located in a Central European country on the brink of war. Although Ester is a translator, neither she nor her relatives speak the language of this country. The sisters rent a two-room-apartment in a once-grandiose hotel, Ester suffers in her room, self-medicating with vodka and cigarettes while trying to work.
Johan soon begins wandering around the hallways, encountering the elderly hotel porter. Meanwhile, Anna ventures into the city and is openly advanced upon by a waiter in a cafe, she watches a show in an uncrowded theatre, and is both repelled and fascinated when a young couple begin to have sex in a seat nearby. Anna returns to the cafe, brushes past the waiter, left with Johan while his mother is out, Ester attempts to form a more intimate bond with him, but Johan avoids her attempts to stroke his hair and face. On Annas return, Ester is eager for an account of what her sister has done after seeing her soiled dress, Anna spitefully fabricates a sexual encounter with the waiter to her sister. Anna reveals her intention to him again that evening. Anna meets the man in their hotel, and Johan witnesses them kissing and entering a room down an adjacent hall, upon returning to the room, he asks Ester, why his mother dislikes being with them, as she always departs as soon as she gets the chance. Ester tells him that she has learned a few words of the local language, instinctively knowing Ester is seriously ill, embraces her in a show of concern and compassion.
After Johan has fallen asleep, Ester sobs at the door of Anna and her lover, Anna lets her in and turns on the lights so that Ester can fully see the two of them in bed together. Anna tells Ester that she aspired to be like her, morally elevated. Ester insists that she loves her and that Anna is wrong, Anna gets furious and asks her to leave the room
The Emigrants (film)
The Emigrants is a 1971 Swedish film directed by Jan Troell and starring Max von Sydow, Liv Ullmann, Eddie Axberg and Allan Edwall. It tells the story of a Swedish group who emigrate from Småland, Sweden to Minnesota, the film follows the hardship of the group in Sweden and on the trip. The film is based on the first two novels of The Emigrants series by Vilhelm Moberg, namely The Emigrants and Unto a Good Land and it was adapted for the screen by Bengt Forslund and Troell. The Emigrants won international acclaim, and was nominated for Academy Award for Best Foreign Language Film in 1971 and it was nominated for four more Oscars the following year, including for Best Picture. It is followed by a 1972 sequel, The New Land, the 1974 U. S. television series The New Land is based loosely on both The Emigrants and its sequel. In 1844 in the Swedish province of Småland, the Nilsson family lives in Ljuder Parish a small farm in the woods at Korpamoen. The eldest son, Karl Oskar, inherits the farm from his father Nils, after meeting a girl named Kristina Johansdotter.
She moves to Korpamoen to live with him and his parents, in the following years, Karl Oskar and Kristina start a family, starting with a daughter, followed by Johan and Harald. The family struggles with poor weather and harvests and hunger, Karl Oskars rebellious younger brother Robert first comes across the idea of emigrating to America, tired of being treated poorly as a farmhand. However, the family loses Anna to hunger, devastated by this loss, Kristina agrees to Karl Oskars plan to emigrate to the United States, and they begin making preparations for the journey. Meanwhile, Kristinas uncle Danjel Andreasson comes into conflict with the clergy for preaching in his home the teachings of the Akian sect to which he belongs. This leads to him, his wife Inga Lena, and their four children being exiled from Sweden. After this, Danjel arrives at Korpamoen to join the emigration party, Danjel plans to bring two of his followers to America as well, Ulrika of Vastergohl, a former prostitute, and her sixteen-year-old daughter Elin.
Robert persuades Danjel to hire Arvid and pay his fare to America, not long afterwards, a friend and neighbor of Karl Oskar, Ulas Petterson, expresses an interest of going with them to North America as an escape from his unhappy marriage. The night before their departure, Kristina reveals to Karl Oskar that she is expecting another child, the party travels south from Korpamoen to the port city of Karlshamn, where they board the wooden brig Charlotta, which is bound for New York City. After hearing how good the land is there, Karl Oskar, during the voyage, Inga Lena and Mans Andersson die of sudden illnesses, which nearly claims Kristina as well. Upon their arrival in New York, Karl Oskar and his party along with Fina Kajsa begin the journey westward to Minnesota, first by train. Not long afterwards, tragedy strikes the party again when Danjels infant daughter dies after a brief illness
It won the Gulbagge Awards for Best Film, Best Actor, Best Actress and Best Screenplay. The film was selected as the Danish entry for the Best Foreign Language Film at the 69th Academy Awards, max von Sydow as Knut Hamsun Ghita Nørby as Marie Hamsun Anette Hoff as Ellinor Hamsun Gard B. But NRK dropped out on the project, believing it would be too controversial, the shooting took place during the spring and summer 1995, with a budget of around 40 million SEK. It saved the film from having to compete against Bille Augusts historical epic Jerusalem
House of Angels
One day he is accidentally killed and an unknown relative by the name of Fanny Zander inherits the mansion and land. When she and her friend Zac arrive, they turn life in the staid village upside down, the film was screened out of competition at the 1992 Cannes Film Festival. At the 28th Guldbagge Awards the film won the awards for Best Film and it was nominated for Best Actress, Best Screenplay and Best Cinematography. The film was selected as the Swedish entry for the Best Foreign Language Film at the 65th Academy Awards, a sequel, Änglagård – andra sommaren, was produced in 1994. A second sequel, Änglagård – tredje gången gillt, was released on DVD and Blu-ray on 25 May 2011
The Slingshot (film)
The Slingshot is a Swedish drama film which was released to cinemas in Sweden on 24 September 1993, starring Jesper Salén, Stellan Skarsgård and Basia Frydman. Directed by Åke Sandgren, the film was based on Roland Schütts 1989 autobiographical novel of the same name, Roland is the 12-year-old son of a Russian Jewish mother and a socialist father, coming of age in 1920s Stockholm. In retaliation against his tormentors, Roland steals condoms from his mothers tobacco shop inventory, most outdoor scenes were shot in Prague as the Stockholm townscape at the time was considered to have undergone too many changes to depict the 1920s. Conversely, the Washington Post had a view of the movie. At the 29th Guldbagge Awards the film won the award for Best Film, Åke Sandgren was nominated for both Best Director and Best Screenplay, while Basia Frydman was nominated for Best Actress. The film was the Swedish submission to the 66th Academy Awards for Best Foreign Language Film, but did not make nomination