To Forget Venice
To Forget Venice is a 1979 Italian drama film written and directed by Franco Brusati. It was nominated for the Academy Award for Best Foreign Language Film at the 52nd Academy Awards. Mariangela Melato as Anna Eleonora Giorgi as Claudia Erland Josephson as Nicky Nerina Montagnani as Caterina David Pontremoli as Picchio Fred Personne as Fossino Armando Brancia as Owner of restaurant Roger Ebert in 1980, gave it 2.5 stars out of 3 and said "To Forget Venice" doesn't feel like a story, it feels like an idea for a story, that's the problem with it". Academy Award nominee: Best Foreign Film David di Donatello: Best Film Nastro d'Argento: Best Actress List of submissions to the 52nd Academy Awards for Best Foreign Language Film List of Italian submissions for the Academy Award for Best Foreign Language Film List of Italian films of 1979 To Forget Venice on IMDb
Brink of Life
Brink of Life, is a 1958 Swedish drama film directed by Ingmar Bergman. Bergman won the Best Director Award and Andersson, Ornäs and Thulin won the Best Actress Award at the 1958 Cannes Film Festival. Cecilia Ellius is admitted to a hospital after she has begun badly bleeding during her third month of pregnancy, she is accompanied by Anders. Before treatment, Cecilia asks Anders if he wants the child. Cecilia undergoes treatment, she tearfully tells hospital staff she had wanted the child but Anders did not, that she knew the child would not be born with only one loving parent. Anders returns to the hospital, Cecilia initiates a separation, saying she realized Anders did not love her as they arrived at the hospital. While suffering from illness, Cecilia is comforted by Stina, overdue in her pregnancy and is excited to have her child. Stina and Cecilia share their ward with Hjördis, admitted after she began bleeding during pregnancy. Hjördis is not married or engaged to the father of her fetus, does not want the child, does not feel she can tell her unsupportive mother.
Hjördis becomes annoyed. They tell her unmarried young mothers in Sweden no longer face the social stigma they once did, Hjördis can find a house and daycare. Hjördis tells the head Nurse Brita babies disgust her. Stina is visited by her husband, Harry. Stina is convinced she intends to name him after Harry. While alone, Hjördis smokes a cigarette. Stina's contractions during labour become violent and excruciating. Dr. Nordlander tells her she and the fetus were healthy, but the pregnancy was not "meant to be". Upon hearing of Stina's loss, Hjördis tells Cecilia. Hjördis calls her mother. Nurse Brita lends Hjördis the money for a ticket. Brink of Life received mixed reviews from critics; when Brink of Life was first released in Italy in 1960 the Committee for the Theatrical Review of the Italian Ministry of Cultural Heritage and Activities rated it as VM16: not suitable for children under 16. In order for the film to be screened publicly, the Committee imposed the removal of the scene in which Stina is in pain due to labour.
The reason for the age restriction and removal of the scene cited in the official documents, is that the film was not suitable to the sexual morals of a minor in the Italian society, the scene was considered to be shocking. The official document number is: 31260, it was signed on 20 April 1960 by Minister Domenico Magrì. Brink of Life, So Close to Life on IMDb Brink of Life at the Swedish Film Institute Database
The Girls (1968 film)
The Girls is a 1968 Swedish drama film directed by Mai Zetterling, starring Bibi Andersson, Harriet Andersson and Gunnel Lindblom. It is a feminist reinvention of the ancient Greek play Lysistrata by Aristophanes, revolves around a theatre group who set up the play. In 1996 a documentary on the making of the film, Lines From the Heart, was made by director Christina Olofson. Liz and Gunilla are three actresses who have been hired to perform in a touring production of Lysistrata; each woman faces challenges leaving their homes. Marianne has left her married boyfriend and finds it difficult to leave her toddler in the hands of babysitters as she goes on tour. Liz's husband is having an affair and wants her to leave while Gunilla, a mother of four young children, is urged not to leave by her husband who wants her to stay at home to help with the children. Along the tour they are met with polite indifference as audience members either fail to grasp the meaning of the play or are bored by it. After one performance Liz asks members of the audience to stay behind to discuss the meaning of the play but when she tries to speak to them of the importance of women they don't react and a male member of the company acts as if it is just a continuation of the play and ushers her offstage.
Liz's stunt attracts attention from the press but as Liz is not able to identify any one incident that led to her outburst they are dismissive of it. All three of the leads go out to dinner and talk over the problem of no one relating to the play wondering if it would be better if they held a woman only show. At dinner they are bothered by several men and when they turn down the men's advances the men become hostile and only leave after Marianne threatens them. On the road, a friend of Liz's husband urges her to come home on behalf of her husband, saying he needs a wife to properly support him and his work. Liz argues that she is tired of putting her husband first but her husband's friend argues that her husband's work is more important than hers, she stays on till the end of the play. The tour finishes and the women return home feeling as though they while no one is willing to change they have at least made people more aware of the misery of their lives. At a party celebrating the end of the play Liz tells the company.
Bibi Andersson as Liz Harriet Andersson as Marianne Gunnel Lindblom as Gunilla Gunnar Björnstrand as Hugo Erland Josephson as Carl Frank Sundström as the doctor Åke Lindström as Bengt Stig Engström as Thommy Ulf Palme as director The film premiered in Sweden on 16 September 1968 through Sandrew Film & Teater. In 2012, the film was voted one of the 25 best Swedish films of all time; the Girls on IMDb The Girls at the Swedish Film Institute Database
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
Mai Elisabeth Zetterling was a Swedish actress and film director. Zetterling was born in Västmanland, Sweden, to a working class family, she started her career as an actress at the age of 17 at Dramaten, the Swedish national theatre, appearing in war-era films. Zetterling appeared in film and television productions spanning six decades from the 1940s to the 1990s, her breakthrough came in the 1944 film Torment written by Ingmar Bergman, in which she played a controversial role as a tormented shopgirl. Shortly afterwards she moved to England and gained instant success there with her title role in Basil Dearden's Frieda playing opposite David Farrar. After a brief return to Sweden in which she worked with Bergman again in his film Music in Darkness, she returned to England and starred in a number of English films, playing against such leading men as Tyrone Power, Dirk Bogarde, Richard Widmark, Laurence Harvey, Peter Sellers, Herbert Lom, Richard Attenborough, Keenan Wynn, Stanley Baker, Dennis Price.
Some of her notable films as an actress include Quartet, a film based on some of W. Somerset Maugham's short stories, The Romantic Age directed by Edmond T. Gréville, Only Two Can Play co-starring Peter Sellers and directed by Sidney Gilliat, The Witches, an adaptation of Roald Dahl's book directed by Nicolas Roeg. Having gained a reputation as a sex symbol in dramas and thrillers, she was effective in comedies, was active in British television in the 50s and 60s, she began directing in the early 1960s, starting with political documentaries and a short film called The War Game, nominated for a BAFTA award, won a Silver Lion at Venice. Her first feature film Älskande par, based on the novels of Agnes von Krusenstjerna, was banned at the Cannes Film Festival for its sexual explicitness and nudity. Kenneth Tynan of The Observer called it "one of the most ambitious debuts since Citizen Kane." It was not the only film. When critics reviewing her debut feature said that "Mai Zetterling directs like a man," she began to explore feminist themes more explicitly in her work.
The Girls, which had an all-star Swedish cast including Bibi Andersson and Harriet Andersson, discussed women's liberation in a society controlled by men, as the protagonists compare their lives to characters in the play Lysistrata, find that things have not progressed much for women since ancient times. In her autobiography, All Those Tomorrows, published in 1985, Zetterling details love affairs with actor Herbert Lom and Tyrone Power, with whom she lived from 1956 until early 1958, she was married to Norwegian actor Tutte Lemkow from 1944 to 1953. Lemkow and Zetterling had a daughter, Etienne and a son, professor of environmental sociology at the Autonomous University of Barcelona. From 1958 to 1976 she was married to British author David Hughes, who collaborated with her on her first films as director, she died in London, from cancer on 17 March 1994, at the age of 68, a year after her final role on television. Released documents at the National Archives in London show that she, a member of the Hollywood Left, was watched by British security agents as a suspected Communist.
However, the UK never had a system along the lines of the American Hollywood Blacklist. She died in her home. A partial filmography as director Actress Mai Zetterling on IMDb Mai Zetterling at the Swedish Film Database Mai Zetterling at the BFI's Screenonline Mai Zetterling at Turner Classic Movies Mai Zetterling at Nationalencyklopedins Internettjänst Mai Zetterling Digital Archives Mai Zetterling at Find a Grave
Beauty and the Beast (1991 film)
Beauty and the Beast is a 1991 American animated musical romantic fantasy film produced by Walt Disney Feature Animation and released by Walt Disney Pictures. The 30th Disney animated feature film and the third released during the Disney Renaissance period, it is based on the French fairy tale of the same name by Jeanne-Marie Leprince de Beaumont, uncredited in the English version but credited in the French version, ideas from the 1946 French film of the same name directed by Jean Cocteau. Beauty and the Beast focuses on the relationship between the Beast, a prince, magically transformed into a monster and his servants into household objects as punishment for his arrogance, Belle, a young woman whom he imprisons in his castle to become a prince again. To break the curse, Beast must learn to love Belle and earn her love in return before the last petal falls from an enchanted rose or else the Beast will remain a monster forever; the film features the voices of Richard White, Jerry Orbach, David Ogden Stiers, Angela Lansbury.
Walt Disney first attempted unsuccessfully to adapt Beauty and the Beast into an animated film during the 1930s and 1950s. Following the success of The Little Mermaid, Walt Disney Pictures decided to adapt the fairy tale, which Richard Purdum conceived as a non-musical. Disney chairman Jeffrey Katzenberg dismissed Purdum's idea and ordered that the film be a musical similar to The Little Mermaid instead; the film was directed by Gary Trousdale and Kirk Wise, with a screenplay by Linda Woolverton story first credited to Roger Allers. Lyricist Howard Ashman and composer Alan Menken wrote the film's songs. Ashman, who additionally served as the film's executive producer, died of AIDS-related complications six months before the film's release, the film is thus dedicated to his memory. Beauty and the Beast premiered as an unfinished film at the New York Film Festival on September 29, 1991, followed by its theatrical release as a completed film at the El Capitan Theatre on November 13; the film grossed $425 million at the box office worldwide on a $25 million budget.
Beauty and the Beast won the Golden Globe Award for Best Motion Picture – Musical or Comedy, the first animated film to win that category. It became the first animated film to be nominated for the Academy Award for Best Picture at the 64th Academy Awards, where it won the Academy Award for Best Original Score and Best Original Song for its title song and received additional nominations for Best Original Song and Best Sound. In April 1994, Beauty and the Beast became Disney's first animated film to be adapted into a Broadway musical; the success of the film spawned two direct-to-video follow-ups: Beauty and the Beast: The Enchanted Christmas and Beauty and the Beast: Belle's Magical World, both of which take place in the timeline of the original. This was followed by a spin-off television series. An IMAX version of the film was released in 2002, included "Human Again", a new five-minute musical sequence, included in the 1994 musical; that same year, the film was selected for preservation in the National Film Registry by the Library of Congress for being "culturally or aesthetically significant".
After the success of the 3D re-release of The Lion King, the film was reissued in 3D in 2012. A live-action adaptation of the film directed by Bill Condon was released on March 17, 2017. An enchantress disguised as a beggar arrives at a French castle and offers a cruel and selfish prince a rose in return for shelter; when he refuses, she reveals her identity. To punish the prince for his lack of compassion, the enchantress transforms him into a beast and his servants into household objects, she casts a spell on the rose and warns the prince that the curse will only be broken if he learns to love another, earn their love in return, before the last petal falls on his 21st birthday. Ten years in a nearby village, a beautiful, book-loving woman named Belle dreams of adventure and brushes off advances from Gaston, a handsome and arrogant hunter. On his way to a fair and lost in the forest, Belle's father Maurice seeks refuge in the Beast's castle, but the Beast imprisons him; when Maurice's horse returns without him, Belle ventures out in search for him, finds him locked in the castle dungeon.
The Beast agrees to let her take Maurice's place. Belle befriends the castle's servants; when she wanders into the forbidden west wing and finds the rose, the Beast scares her into the woods. She is ambushed by a pack of wolves, but the Beast rescues her, is injured in the process; as Belle nurses his wounds, a friendship develops between them. Meanwhile, Maurice returns to the village and fails to convince the townsfolk of Belle's predicament. Gaston bribes Monsieur D'Arque, the warden of the town's insane asylum to have Maurice locked up if Belle refuses to marry Gaston. After sharing a romantic dance with the Beast, Belle discovers her father's predicament using a magic mirror; the Beast releases her to save Maurice. After taking Maurice to the village, Belle reveals the Beast in the mirror to the townsfolk, proving her father's sanity. Realizing that Belle loves the Beast, a jealous Gaston has her thrown into the basement with her father, he rallies the villagers to follow him to the castle to slay the Beast before he curses the whole village.
Maurice and Belle escape with Chip's assistance, Belle rushes back to the castle. During the battle, the beast's servants fend off the villagers. Gaston attacks the Beast in his tower, too heartbroken from Belle's departure to fight back, but regains his spirit
Cries and Whispers
Cries and Whispers is a 1972 Swedish period drama film written and directed by Ingmar Bergman and starring Harriet Andersson, Kari Sylwan, Ingrid Thulin and Liv Ullmann. The film, set in a mansion at the end of the 19th century, is about three sisters and a servant who struggle with the terminal cancer of one of the sisters; the servant is close to her, while the other two sisters confront their emotional distance from each other. Inspired by Bergman's mother, Karin Åkerblom, his vision of four women in a red room and Whispers was filmed at Taxinge-Näsby Castle in 1971, its themes include faith, the female psyche and the search for meaning in suffering, academics have found Biblical allusions. Unlike previous Bergman films, it uses saturated colour, crimson in particular. After its premiere in the United States, distributed by Roger Corman and New World Pictures, the film was released in Sweden and screened out of competition at the 1973 Cannes Film Festival. Following two unsuccessful films by Bergman and Whispers was a critical and commercial success.
It received five Academy Award nominations, including one for Best Picture. Cinematographer Sven Nykvist won the Academy Award for Best Cinematography, Cries and Whispers won the Guldbagge Award for Best Film and other honours; the film inspired stage adaptations by Ivo van Hove and Andrei Șerban and influenced cinema. It was commemorated on Swedish postage stamps referring to a scene in which Andersson and Sylwan replicate the Pietà. In a large 19th-century mansion with red walls and carpets, Agnes is dying of uterine cancer, her sisters and Karin, arrive at their childhood home and take turns with the maid, watching over Agnes. Anna, more religious than the sisters, prays. While Agnes' sisters remain distant, Anna comforts the suffering Agnes by baring her breasts and holding her at night; when Agnes' doctor David visits, he sees his former lover Maria. Maria remembers their affair and her failed marriage with her husband Joakim, who stabbed himself non-fatally in response to the adultery. David tells her.
Agnes remembers their mother, who neglected and teased her and favoured Maria, with greater understanding and recalls sharing a moment of sorrow with her. Agnes dies after a long period of suffering, at her wake the priest says that her faith was stronger than his own. Maria tells Karin that it is unusual for them to avoid touching each other or having a deep conversation, she tries to touch Karin. Karin recalls an earlier occasion at the mansion, struggling with self-harm, she mutilated her genitals with a piece of broken glass to repel her husband Fredrik. Karin dines with Maria, saying that Anna was devoted to Agnes and deserves a memento, she reveals her resentment of Anna's familiarity with her and Maria, her suicidal tendencies, her hatred of Maria's flirtatiousness and shallow smiles. The sisters reconcile after the argument. In what may be a dream, Agnes returns to life and asks Karin and Maria to approach her. Karin, repelled by the invitation, says that she still has life and does not love Agnes enough to join her.
Maria approaches the undead Agnes but flees in terror when she grabs her, saying that she cannot leave her husband and children. Anna takes Agnes back to bed, where she cradles the dead Agnes in her arms; the family decides to send Anna away at the end of the month, with Fredrik refusing to award her with any additional severance pay, the maid rejects her promised memento. Maria returns to Joakim, Karin cannot believe Maria's claim that she does not remember their touch. Anna finds Agnes' diary with an account of a visit with Maria and Anna, with a shared, nostalgic moment on a swing. Agnes wrote that whatever else happens, this is true happiness. According to Bergman, he conceived the story during a lonely, unhappy time on Fårö when he wrote constantly, he described a recurring dream of four women in white clothing in a red room, whispering to each other. He said that this symbolised his childhood view of the soul as a faceless person, black on the outside, representing shame, red on the inside.
The persistence of the vision indicated to Bergman that it could be a film, he said, he planned a "portrait of my mother... the great beloved of my childhood". Karin has the same name as Bergman's mother, but all four female protagonists are intended to represent aspects of her personality. A childhood memory of the Sophiahemmet mortuary influenced the director: The young girl who had just been treated lay on a wooden table in the middle of the floor. I exposed her, she was quite naked apart from a plaster. I touched her shoulder. I had heard about the chill of death. I moved my hand to her breast, small and slack with an erect black nipple. There was dark down on her abdomen, she was breathing. Since Bergman's films were difficult to market, foreign capital was unavailable to finance the film, he decided to shoot Cries and Whispers in Swedish rather than English and finance it through his production company, Cinematograph. Although he used 750,000 SEK of his savings and borrowed 200,000 SEK, he asked the Swedish Film Institute for help with the film's 1.5-million SEK budget.
This attracted some criticism, since Bergman was not an up-and-coming director in the greatest need of subsidy. To save money, the main actresses and Nykvist returned