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What did you think of Bergman's use of color in C&W (or Whispers and Cries, as Bergman authority John Simon thought should be the title's proper translation)?
Visually, the cinematography and set design were obviously striking and set up the atmosphere. It's just that I don't go in for "sledgehammer symbolism", but that's my baggage. However, I still appreciated the "journey" as I made my way through the film. I can't praise the performances enough. Harriet Andersson is on my shortlist of greatest-ever actors.
I get the sense that my appreciation of C&W--as opposed to "enjoyment"--will continue to grow.
I like the fades to red - quite startling.
I perversely prefer 1970s Bergman's offbeat films (like The Serpent's Egg with its weird blend of Berlin decadence with science fiction and action movie elements) and From the Life of the Marionettes (with its Fassbinder-ish mood and its end credits set to electronic dance music. Techno beats in a Bergman film??!!) to his more "regular" Bergman stuff like C&W and Autumn Sonata.
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If only Ingmar Bergman had directed Star Wars, then every FSMer would be enthusiastically discussing his work.
"If only..."
Amusingly, Bergman's film from 1977, The Serpent's Egg, contains some science fiction elements. So why aren't we getting Serpent's Egg: The Reboot these days?
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Posted: |
Oct 22, 2020 - 8:45 AM
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By: |
Jim Phelps
(Member)
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Amusingly, Bergman's film from 1977, The Serpent's Egg, contains some science fiction elements. So why aren't we getting Serpent's Egg: The Reboot these days?
I liked the film a lot more than I was led to believe I would.  Obviously, I loved the film's Weimar setting, the cold, wet weather, the shitty surroundings, Liv Ullmann as a nightclub entertainer, and the creepy Kafkaesque government apparatus. It really didn't feel much like Bergman, though his trademark touches and themes will no doubt be more obvious to me the next time I watch it.
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I'm still waiting for someone to boldly stand up and proclaim, "My favorite Bergman films are About All These Women, The Touch, and From the Life of the Marionettes."
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I'm still waiting for someone to boldly stand up and proclaim, "My favorite Bergman films are About All These Women, The Touch, and From the Life of the Marionettes."
...and The Rite. I LOVE The Rite.
The Touch was great until it began.
Critic John Simon was apoplectic in his review at the thought of that hairy, dopey-looking Elliot Gould even being in the same room with the crystal purity of Bibi Andersson!
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John Simon (again) on The Serpent's Egg:
"...the overarching political drama eludes Bergman. He can touch it only in terms of science fiction, better handled by other directors from Fritz Lang to Stanley Kubrick; as for scenes of pursuit and hand-to-hand combat, they simply aren't his metier."
I think this is the sole instance of Simon comparing Kubrick favorably to Bergman.
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