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Ingmar Bergman Volume 4
[Blu-ray]
Blu-ray B - United Kingdom - British Film Institute Review written by and copyright: James-Masaki Ryan (21st March 2023). |
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The Film
 Ingmar Bergman Volume 4 When listing the most influential filmmakers of all time, it would be hard to find a list that didn't include Ingmar Bergman. The Swedish auteur became the most recognized name in Swedish cinema through his works as a director as well as a writer, delving deep into the human psyche with dark yet enlightening stories of love and loss, unforgettable surreal images in the midst of straightforward reality, and hypnotic visuals especially that of the extreme closeups of faces. He hit his stride in the 1960s with a number of critically acclaimed features and establishing his name in arthouse cinemas worldwide, though there were a few missteps along the way. By the end of the decade there were some that felt the director was past his prime and there was nothing particularly new to expect from him for the future. In the 1970s, Bergman defied the odds and proved that he was still vibrant as ever with his work, crossing into the mainstream with multiple Oscar wins and further critical and commercial praise. "Cries and Whispers" ("Viskningar och rop") (1972) Agnes (played by Harriet Andersson) is dying of terminal uterine cancer and is bedridden in the family home. Taking care of her is the family's maid Anna (played by Kari Sylwan) along with her two older sisters Maria (played by Liv Ullmann) and Karin (played by Ingrid Thulin) who are visiting. The three adult sisters have not had the closest relationship over the years, and while this may be the last time that they could finally bond, it is under the most stressful and painstaking of situations. Ingmar Bergman was riding on a wave of critically successful features in the 1960s, his first in the new decade of the 1970s was "The Touch" in 1971. The melodrama was his first bilingual English-Swedish production, but failed to find an audience with overwhelmingly negative reviews. Financing a follow-up would prove to be difficult, and in turn Bergman would mostly self-finance his next production, "Cries and Whispers", and having his longtime collaborating cast and crew to take a percentage of residuals as payment rather than a salary. Liv Ullmann was one of a few that asked for a salary, and it was fairly low. Basically everyone that was hired was willing to work on the production for little to nothing as they believed in Bergman's visions. Bergman stated that he had a dream in which a group of women dressed in white were in a crimson colored room. Bergman had made a few films in color, though the stylized look of the deep primary reds would prove to be something new and unique to bring to the screen. The image itself was set, but for the story Bergman would look at the relationship between women for the inspiration - mothers, daughters, sisters. Sequentially the film was divided in chapters with the viewpoints of the different characters. Maria and her adulterous relationship with the local doctor David (played by Erland Josephson) in the past, and how things are at in their current state as he watches over Agnes' painful final days. She is also haunted by her past relationship with her husband Joakim (played by Henning Moritzen) who tried to kill himself when he learned of her infidelity. For Karin, she her distance from her sisters since the past has troubled her relationships as well, which includes a shocking moment of self mutilation in a flashback. Anna, who is of no blood relation is emotionally the closest to Agnes and others, and it is particularly her physical reactions that are most human, with sadness and despair, frustration and caring from her heart and soul poured out. Bergman gives structured time and space for each of the characters, with flashbacks and scenes that could be dreams or reality to fully illustrate them, with an unusual choice of fading the screen to red rather than black for transitions. With the red representing blood, family, menstruation, and life altogether, it also instills both love from the heart and fear from death subconsciously for viewers, which emotionally grips in a way that black and white could not have achieved. Bergman's longtime collaborating cinematographer Sven Nykvist beautifully photographed the feature, with trademark closeups on faces being a staple. "Cries and Whispers" was one of Bergman's most powerfully and devastating works, watching a woman slowly die painfully while more painful memories surround the situation, though there are hints of joy and positivity to be found within the cracks. Shot on location at Taxinge-Näsby Castle in September and October of 1971, No distributors were interested in the production, but one person that came calling was American producer Roger Corman, who bought the US distribution rights for a mere $150,000. While Corman may have been known for low budget genre features for drive-ins, he did have a keen eye for international cinema and knew that Bergman's name alone could bring guaranteed crowds. Grossing $1.2 million theatrically for New World Pictures, it became one of the highest grossing Bergman features in the United States from its theatrical release at the end of 1972. It would eventually find theatrical releases in the United Kingdom and its native Sweden in early 1973, as well as playing at the Cannes Film Festival in May of that year. Critical praise was overwhelming, winning multiple awards worldwide. Five awards at the New York Film Critics Circle Awards including Best Picture and Best Director, Best Screenplay and Best Cinematography at the National Society of Film Critics Awards, Best Actress for all the main actresses at the Faro Island Film Festival, and more. It was nominated for five Oscars, including Best Picture and Best Director, though it only won the Best Cinematography Award for Nykvist. It was still a major achievement for a feature film that most distributors turned their backs on not long ago, and cemented Bergman as a favorite for international cinema again, and his reign would not stop just yet. his next work would not only be his longest yet, but it would be the first time the director would challenge himself with a television mini-series. "Scenes from a Marriage" ("Scener ur ett äktenskap") (1973) Marianne (played by Liv Ullmann) and Johan (played by Erland Josephson) are an upper class married couple with two young children. They are a well educated couple, and have respective jobs as she is a divorce lawyer and he is a psychology professor. While the two are happy on the surface, there are underlying doubts between each other, and over the course of time the two head towards a physical and emotional separation. Bergman was on his fifth (and final) marriage and had nine children by six different women. He was not at all the expert in a story about a successful marriage but he was one in terms of a crumbling one. Based on a number of his own experiences as well as from friends and family, the lives of Marianne and Johan came from reality rather than fantasy. Over the course of six chapters spanning a decade's time, it shows the seemingly good couple's truths emerging slowly and the emotional turmoil that becomes uncontrollable. As a television production, it would be shot on a very small budget with a limited number of sets and characters, with most of the sequences having Ullmann and Josephson together. In scene one titled "Innocence and Panic" shows the happy and successful couple who have been married for ten years and raising their two young daughters, though there are some rough patches in their daily lives. Scene two entitled "The Art of Sweeping Matters Under the Rug" has them taking a few different steps in direction, with a slow emotional separation beginning. Scene three entitled "Paula" has the separation become reality, with Johan starting an affair with a younger woman and wanting to start divorce proceedings. Scene four, "The Vale of Tears" has the separated couple reunited after a few months time to discuss about moving forward with the divorce. Scene five, entitled "The Illiterates" has the two finalizing their terms of divorce on paper, but their emotional rage against each other come clashing out during the proceedings. Scene six. "In the Dead of the Night in a Dark House" has the two of them reuniting years later in a more stable state, with memories of the good times outweighing the bad. Ullmann and Josephson are incredibly intense throughout, with emphasis placed on the fast and overlapping dialogue that almost seem improvised with their cadence and delivery. It was stated that they stuck to Bergman's script, and every moment was as written, and required few takes as the two of them learned the dialogue word for word without issues. As it was a television production, closeups on the performers were key, though there were more over the shoulder shots in comparison to the Bergman-esque portrait shots. Shooting on 16mm film, there was more range for cinematographer Sven Nykvist to use the space to move the camera around the actors as well. It is not a flashy feature and movement is used only when appropriate, yet it still has the Bergman feel throughout with the existential dialogue and emotionally gripping situations. While "Cries and Whispers" was a feature film that was only 90 minutes long, the use of long takes, long sequences without dialogue elongated the time. With "Scenes from a Marriage", the 6-part television series may have totalled 300 minutes, but felt quick due to the pacing of the story. Featuring a gradual breakdown of a marriage with incredible realism, "Scenes from a Marriage" was not particularly a must-see television event on paper, yet it became an absolute sensation when broadcast weekly in April and May of 1973. Viewership went up during the weeks as word of mouth propelled new viewers to tune in, and the series may have been a reason that divorce rates increased in the region, as the series showed that sometimes a separation is the better answer than trying to work things out. The question is, were Marianne and Johan better off with divorcing rather than keeping their marriage together? It's impossible to say, but it is certain that the couple was an example of two that started their relationship in a non-traditional manner. It was not of falling in love, but it was through comfort of both of them coming out of relationships and finding each other at ta time that they were unhappy. Their life together may have seemingly been on the same wavelength, as they lived together, had children together, but from their conversation at the very start of the first scene that it showcased a rift. When Johan is asked to tell the camera crew about himself, he is eager to speak about his job, his hobbies, his love life, and much more. But when Marianne is asked, she is stumped. She does not see herself to be explained by what she does or how affectionate she is and is lost for words. It's clear that the two were not on the same wavelength, and frankly a common scenario among many couples, as they put their own individual lives at the front rather than the concept of "our life" together as one. Of course it is possible that if the two had gone to couple's counseling or talked things through in an organized manner, things could have turned in a different direction. It could have altogether been the same with no resolution. As Bergman stated, as smart and educated as they were, the two were illiterates in the name of love and marriage. They were not affectionate enough to sustain their marriage and by the time they realized the situation it was too late. Bergman's storytelling through a linear structure made it easily accessible and thoroughly entertaining through its lengthy runtime, and the powerhouse performances in the leads were unmatched. There was some criticism for not including much of the children and their reactions, but as Bergman stated this was a sole look at the nature of marriage, not the crumbling of a family, which would have made things much more complicated and not as focused. For international release, Bergman edited the series as a feature length film for theatrical screenings, condensing the 300 minute series into a 167 minute feature. The six act structure was kept, but a number of scenes were eliminated. Marianne's emotional struggle with an abortion, several scenes with the grandparents, and many others had to be excised. But even with nearly half of the story being cut, the theatrical version still stood tall as another crowning achievement for Bergman. The theatrical version was released on September 15th, 1974 in the United States and was also released in Sweden a month later, which was more than a full year after the television version first broadcast. It won a number of awards including Best Foreign Language Film at the Golden Globes and four awards at the National Society of Film Critics including Best Picture. Interestingly it was not up for any Oscars, as it was deemed inelligible due to it being broadcast on television a year before. Bergman's work for television would continue on with the adaptation of "The Magic Flute" in 1975 and the mini-series "Face to Face" in 1976. "Autumn Sonata" ("Höstsonaten") (1978) Charlotte (played by Ingrid Bergman) is a world renowned pianist who decides to return to her home country of Sweden to visit her eldest daughter Eva (played by Liv Ullmann), the wife of a village pastor. Seven years had passed since they last saw each other, and while they seem to bond quickly, things start to turn to difficulty when Charlotte realizes that Eva has brought her disabled younger sister Helena (played by Lena Nyman) home from the hospital to look after her. Charlotte has always had difficulty accepting her disabled daughter, but there is also the underlying emotional disconnect between her and Eva, and their long difficult relationship between superstar mother and the daughter that could never live up to her expectations come clashing together during their short time together again. In 1976, Bergman was charged with tax evasion by the Swedish government. Though he was cleared, the ordeal made him disillusioned with working in Sweden. He decided to leave the country and make a new home in Munich, Germany for his new studio for filmmaking. The English language "The Serpent's Egg" would be his first feature made abroad, and the reception was mostly negative. For many years, audiences imagined a "What If?" scenario with Ingmar Bergman. "What if Ingmar Bergman directed Ingrid Bergman in a film?" The Swedish born actress had established her career in Hollywood and in Europe for decades in numerous classic productions, and started her film career in Sweden in the 1930s with a number of Swedish language productions. Four decades had passed since she spoke her native tongue on screen, and an opportunity came when the long rumored Bergman/Bergman collaboration became reality with "Autumn Sonata", a story of a world famous star returning home. Although the film would have a mostly Swedish cast and crew, the production was shot in Liv Ullmann's home country of Norway as a substitute. Like many of Bergman's recent features, the story was of a crippled family. One that was not only emotionally distant, but literally at a physical distance with decades of baggage carried on their shoulders. Ingrid Bergman is absolutely stellar as the mother Charlotte, and in her few scenes where she speaks in English to her agent on the phone and in person, she has a certain gravitas to her voice that screams "superstar" in her tone and expressions used. Like the real Ingrid Bergman, Charlotte is larger than life, almost a mythical figure to the masses. But when returning home and seeing her daughter after a seven year gap, there is much to be discussed. It's not about a simple family reunion, as the stories from the past and the broken promises affected her relationship with Eva. She's also extremely coldhearted to learn that her other daughter Helena is staying with Eva, as she states she is emotionally not ready to face her. As a good deed, she does say hello with a smile to her, even if Helena cannot return a reply and speak in full sentences herself. But the question is, could Charlotte ever be ready to greet Helena with a true smile? Having a disabled child will exponentially make raising children difficult, and no matter how famous, how rich, or how prosperous she became, there was no way to ease the process. Charlotte has forever felt guilt of not being able to be a true mother to her and confronting the wheelchair bound daughter makes the visit much more of an emotional chore than expected. But Charlotte was not exactly a fitting mother towards Eva either. Eva confronts her mother to tell her that she was never able to feel true love in return, and no matter what she did in her life, whether it was playing the piano or even when she published books. In the sequence that Eva plays the piano and Charlotte watches, there is a sense of nervousness from Eva, with the thought that her mother will always be critical of her playing, as she could never live up to expectations. The clashes in words and tears between the two women are as powerful as they come, and Ingrid Bergman and Liv Ullmann are stellar as the estranged mother and daughter respectively. The beautiful golds and browns of the autumn leaves come to life with the cinematography by Sven Nykvist, while the colds of the night sequences mirror the emotional unrest of the situation wonderfully. The film opened theatrically in Sweden on October 8th, 1978 and a worldwide rollout throughout 1978 and into 1979. The film was a critical and commercial hit with Ingrid Bergman receiving many accolades and awards for her performance, with Best Actress awards from the New York Film Critics Circle and the National Society of Film Critics. It won five awards from the National Board of Review, won Best Foreign Language Film at the Golden Globes, and was nominated for two Oscars, with Best Actress for Ingrid Bergman and Best Screenplay. The film was a wonderful homecoming feature for Ingrid Bergman, and it would also be the last for her theatrically. She played in one more production, which was the television mini-series "A Woman Called Golda" in 1982, a biopic of the Israeli Prime Minister Golda Meir in which she played the lead. She had been battling breast cancer for a number of years, and on her birthday on August 29th, 1982, she died in London at the age of 67. She posthumously won the Best Actress award at the 1983 Emmy Awards for her role. "Fårö Document 1979" ("Fårö dokument 1979") (1979) Bergman filmed his 1961 feature "Through a Glass Darkly" on the island of Fårö, a place that he fell in love with and would eventually be the place he called home, and the place where many of his productions would take place over the decades. He first made a documentary on the island and the islanders in 1970 entitled "Fårö Document", and nine years later he takes another look at the island through interviews with previous participants and showcasing the differences they have experienced and the future of Fårö. Bergman moved away from Fårö in 1976, but he decided to return to film a follow-up to his 1970 released documentary on the island a decade later. Taking inspiration from the "Seven Up!" documentary series which chronicled the lives of children and re-interviewing them seven years later at a time, "Fårö Document 1979" has some wonderful then and now sequences of teenagers interviewed in 1969 and how their lives have changed a decade later. Some are working on their home island, some are off in Stockholm, and it is fascinating to see and hear their thoughts. There are also a number of interviews with farmers, fisherman, housewifes, loners, the elderly, the children and everyone else that come in between, showcasing a community that has both its ups and downs. There are some disturbing sequences for animal lovers though, as there are graphic sequences of fishermen gutting fish on their ship, as well as the killing of a pig by hogfarmers. While these are not done in the name of harming, they are doing their agricultural job and is left intact for the screen for UK viewers, with no cuts from the BBFC as it is not considered "animal cruelty". The documentary shows a mostly rural island with progress, but it is not particularly a tourist film or one to show the wonders and beauty. Yes, there are nice beaches to see and a natural landscape, but as many young people say, there is not a lot to justify staying on the island for their futures. With a population of about 600 at the time, as of 2023 the number has lowered to around 500. Bergman may have established the island as a cinematic Mecca of sorts, it is one that gets bustling in summer and quiet for the rest of the year. There were plans to continue the documentary series though unfortunately the second was also the last. While this return for Bergman seemed to signify his return to Sweden for filmmaking purposes, he would stay in Munich just a while longer, as he would direct his one and only German language film next. "From the Life of the Marionettes" ("Aus dem leben der marionetten") (1980) Peter Egermann (played by Robert Atzorn) is arrested for the murder of a prostitute. Psychiatriast Mogens Jenson (played by Martin Benrath) is assigned to look into Peter's case and what led him to the crime, which leads to his broken relationship with his wife Katarina (played by Christine Buchegger) and others through a series of flashbacks, unlocking the torment and trauma of his past. Made for German television and later released in theatrical form worldwide, "From the Life of the Marionettes" is a feature that doesn't quite feel like an Ingmar Bergman production but something closer to the German New Wave, with inspiration from younger filmmakers such as Rainer Werner Fassbinder and Wim Wenders. Structurally the film is non-linear, starting with the murder itself and jumping forwards and backwards in time with events pre-dating the incident and later during interogation and analysis. Interestingly the married couple in the film are ones that appeared in a previous Bergman production. In "Scenes from a Marriage", Peter and Katarina appeared as the couple's friends in the dinner scene which led to the uncomfortable arguments in the first scene. They were played by different actors, with Jan Malmsjö and Bibi Andersson and speaking in Swedish, while in this feature, they are a German couple speaking German. It is not particularly necessary to see "Scenes from a Marriage" but it does show that the couple had issues in their marriage from way back when. "From the Life of the Marionettes" features psychoanalysis, deep trauma, and sexual obsession through puzzle pieces that the audience should try to assemble. While there are moments that work, it doesn't quite live up to the heightened reality, nor does it solve any issues. It is not a murder mystery as the audience already knows who did what, but it is a look into the troubled husband, the strong willed and sadistically controlling wife, and the unbalanced nature of their relationship destroying itself. It is not a moral story or one to put an agenda in audience's minds, but something more on the experimental side of storytelling. It is by no means a failure, but doesn't come close to what Bergman was known for. Though it was made for German television in which it aired on November 3rd, 1980, it actually had theatrical screenings prior to that in the United Kingdom and France. It received some positive notice but nothing quite major on the awards front for the year. After the production, Bergman returned to his native Sweden, where he would plan his final feature film for the cinema, which would also be his biggest and most expensive. "Fanny and Alexander" ("Fanny och Alexander") (1982) Fanny (played by Pernilla Allwin) and Alexander (played by Bertil Guve) are two young children of the upper class Ekdahl family, who live a joyous and wonderful life in the family manor. But after the unexpected death of their father Oscar (played by Allan Edwall), their mother Emilie (played by Ewa Fröling), remarries the Bishop Edvard Vergérus (played by Jan Malmsjö), a strict and cold individual that does not accept the children and their fun imaginations, locking them in his cold and empty household without a chance to be children and be free. With an extensive cast of characters and a grand setting at the turn of the century Sweden, there was a lot of autobiographical elements to "Fanny and Alexander". The strict nature of the step-father who was a bishop is reminiscent of Bergman's father who was a Lutheran priest. The imaginative nature of Alexander who loved theater and theatrics was clearly based on himself. But there was a lot of inspiration taken from literature as well. The nature of the children's perspective and tone is reminiscent of Charles Dickens' "Oliver Twist" and "Great Expectations". There are also traces of William Shakespeare's "Hamlet" within. But this is not a story entirely based on the views of life through children, as there are a number of sequences where the children are absent. It showcases the difficulties of family life through remarriage and the sacrifices that the mother must make for the sake of her children as well the class structure as seen with the upper classmen commanding their maids and servants around. Not everything is cold and strict, as the opening segment during Christmas is one of the most joyous sequences in any of Bergman's productions, with dancing, pillow fighting, and feasting with smiles all around. But this is later mirrored against a harsh caning sequence and torturous moments that will strike fear into audiences seeing the innocent children having to suffer in their new life. Emotionally the audience will relate to the young ten year old Alexander and his younger sister Fanny, though there are many others that are worth watching as well. Isak Jacobi (played by Erland Josephson) is the wonderfully eccentric Jewish man who tries to save the children at his house full of knick-knacks and goods from all over the world. Maj (played by Pernilla August) is a maid with heart who can be a little aggressive when necessary. Ewa Fröling does an exceptional job as the frail and beautiful mother who wants to do more for her children, but frustratingly can't. And as much as the audience will hate the character of Bishop Edvard, his presence is phenomenal and frightening without being cartoonish. There are also a number of other familiar facees in the Bergman troupe of performers, such as Gunnar Björnstrand and Harriet Andersson. Notably absent are Max Von Sydow and Liv Ullmann, though both were courted by Bergman to appear in the production. Bergman conceived "Fanny and Alexander" as a multi-part television series like he did with "Scenes from a Marriage", with an alternate theatrical version that would be significantly shorter. Due to the sets, costumes, length, and the large cast, this would be Sweden's most expensive production at a total of $7 million, with financing coming from Sweden and international investors. The set designs of the various manors with extravagant decor, the period costumes of the large cast, and the changing seasons were finely put to screen with the help of cinematographer Sven Nykvist with a color palate that leaned on natural colors rather than vibrancy. Beautifully shot and having the aura of wonder and excitement throughout, "Fanny and Alexander" was Bergman's most accessible production, and became a massive hit worldwide with critics and audiences. Opening in Sweden theatrically on December 17th, 1982 in its 188 minute theatrical form, the film opened worldwide throughout 1983. The film was a massive success in Sweden, becoming Bergman's most financially successful feature. It grossed $7 million in the United States alone and was a hit across Europe. It won numerous awards at the New York Film Critics Circle Awards, Los Angeles Film Critics Association Awards, the Guldbagge Awards, and more. It took the Golden Globe for Best Foreign Language Film and was nominated for six Oscars - the most for any Bergman film, with nominations for Best Director and Best Screeplay, and winning Best Art Direction, Best Cinematography, and Best Costume Design. But this was not the end for "Fanny and Alexander", as Bergman's originally envisioned multi-part full length 321 minute version would also come to screens a year later. The 5-hour version screened in Swedish cinemas and was again a hit for audiences wanting more. It would also be aired on television in an unorthodox style of having completely different runtimes for each episode. Episode one was 92 minutes, episode two was 40 minutes, episode three was 37 minutes, episode four was 60 minutes and the finale was 90 minutes. (In instances, the third and fourth were combined as one for 77 minutes.) The longer version included a number of sequences that ran longer, subplots and scenes entirely missing from the theatrical version, and an overall fleshed out experience as Bergman had originally intended. He stated that this would be his final film production to which the world lamented. He stated that he would still work in stage theater and in writing, but it wouldn't be long until he would technically return to the screen. "After the Rehearsal" ("Efter repetitionen") (1984) Henrik Vogler (played by Erland Josephson), a theater director stays behind after a rehearsal for ideas and planning. He is visited by actress Anna (played by Lena Olin) who returns to confront him about her deep and dark hatred for her late mother Rakel (played by Ingrid Thulin), who worked on Henrik's stage and was also a lover. From their conversations, memories both dark and heartfelt come back into the light. Produced as a television film and released theatrically in some countries, "After the Rehearsal" is a polar opposite of the grand and epic scale of "Fanny and Alexander" with a cast of five actors in which only three have speaking roles and taking place entirely in one location, the short feature is as minimal as it gets, and works closer to that of a stage play within a stage play, rather than a cinematic piece. There is a lot of Bergman to be found in the character of Henrik, as the aging director that is confronted by his past. Bergman has had relationships with a number of his leading ladies, and his contemplation and embrace of the past loves is found here in a semi-autobiographical form. Lena Olin first worked with Bergman in "Face to Face" which was her film debut, and had a small role in "Fanny and Alexander". Still young and not yet on the world stage as she would prove herself a few years later, she is quite commanding in her role as the estranged young woman looking for answers about herself and her deceased mother. Thulin had performed in a number of Bergman's productions as did Josephson, and the two are at their most comfortable, even if the setting itself and the characters are not. The two non speaking roles are with Bertil Guve, who played Alexander in "Fanny and Alexander" and 12-year-old Nadja Palmstjerna-Weiss, who would later become a prominent actress, director and writer, and would appear on stage in Bergman's production of "The Misanthrope" in 1995. As this was a television production, there are many closeups as expected, with nothing too flashy in terms of visuals, showcasing an empty stage with random boxes and props in a natural setting, rather than a completely empty space. The feature doesn't quite have a resolve and doesn't quite hit the emotional core as effectively as it could, and probably would have worked better in an actual stage setting rather than on a screen. Regardless, it does carry some Bergman-esque moments and the sudden nudity is a little unexpected to say the least. Though Bergman stated his retirement from cinema a few years back, this would not be his last for the television screen either, as he would continue to make a few more productions sporadically over the years, culminating with 2003's highly acclaimed "Saraband", which was shot digitally, and was an experience that made Bergman never want to shoot on traditional celluloid ever again. But this would become his last feature, as he passed away on July 30th, 2007 at his home in Fårö at the age of 89. With 49 feature-length films and over 100 stage productions directed, Bergman is one of the most important filmmakers to emerge in the twentieth century, as he truly made personal and effective works that delved deep into dark territory, had an experimental nature, with unforgettable themes. While he was not particularly a popular figure in terms of Swedish culture during his lifetime, as his popularity was with worldwide arthouse audiences, the government of Sweden honored his work in 2015 by issuing the newly minted 200 Kronor bill with his face. In an initiative to showcase twentieth century Swedish culture, each bill was fit with a person from Sweden that made an important mark in the last century. Pippi Longstocking creator Astrid Lindgren, musician Evert Taube, actress Greta Garbo, opera singer Birgit Nilsson, and diplomat Dag Hammarskjöld were the others that were honored as faces of the new bills. His works continue to stand strong through the test of time, and these works from the 1970s and 198s show the imagination, the vigor, and the personal darkness put onto screen in unique ways that has been imitated and inspired by others, yet they rarely get close to these original works. Note this is a region B Blu-ray set
Video
The BFI presents "Cries and Whispers", "Autumn Sonata", "From the Life of the Marionettes", "Fanny and Alexander" and "After the Rehearsal" in the 1.66:1 aspect ratio, "Fårö Document 1979" in the 1.37:1 aspect ratio"Scenes from a Marriage" in the 1.33:1 aspect ratio, all in 1080p AVC MPEG-4. "Cries and Whispers", "Autumn Sonata", "Fårö Document 1979", "From the Life of the Marionettes" and "Fanny and Alexander" were restored in 2K by Svensk Filmindustri. "Cries and Whispers", "Autumn Sonata" and "From the Life of Marionettes" were restored in 2017 from the original 35mm negatives. "Fårö Document 1979" was restored in 2017 from the 16mm color reversal intermediate negative and a duplicate negative. "Fanny and Alexander" was restored in 2009 from the original 35mm negative. "Scenes from a Marriage" was restored in HD from the original 16mm negative. "After the Rehearsal" is an upscale from a standard definition master from Svensk Filmindustri. The 2K restoration transfers are excellent. From the colors, sharpness, stability, and clean image are very consistent. "Cries and Whispers" is well known for the crimson colored walls and scene transitions, and the cold pale natural skin tones look excellent as well. "Autumn Sonata" has browns and yellows that come to life while still carrying a dark hue to match the sombre tone. "Fårö Document 1979" is the only documentary feature, and its 16mm roots are clearly visible in the transfer with heavier grain and issues such as gate hairs and inconsistent colors from shot to shot. But on the other hand, colors are well balanced, sharpness is excellent, and most of the major damage has been removed. "From the Life of the Marionettes" is the only feature that is mostly in black and white, with only the opening and closing scenes being in color. The black and white image is excellent throughout, with grey levels being well balanced. The color sequences are also excellent as well as it fades out and fades in with the two sequences. "Fanny and Alexander" is an earlier 2K restoration in comparison to the others, yet still stands tall with its colorful costumes and interiors, the busy visuals in a multitide of seasons are well reproduced. There can be a bit of wobble at portions, though not too distracting on viewing. There is one shot, the fire burning shot which is much grainier than the rest, but that is due to a miscommunication during the stunt scene in which the only camera to capture the fire stunt was a 16mm camera from the making-of crew, and that is what is used in the final feature. "Scenes from a Marriage" and its 16mm origin does is grainier than the 35mm shot features, though it looks fantastic here with great detail and color reproduction. All of these features have been digitally cleaned to remove scratches, dust, debris, and other damage marks for a very clean look all throughout. "After the Rehearsal" on the other hand is the one that sticks out like a sore thumb. The standard definition transfer has not had any major restoration applied, with scratches, dust, and even cue blips being visible. The colors are slightly faded and there are flickering is sometimes an issue. The runtimes are as follows: * "Cries and Whispers" (1972) (91:15) * "Scenes from a Marriage" theatrical version (1973) (169:56) * "Autumn Sonata" (1978) (92:35) * "Fårö Document 1979" (1979) (103:44) * "From the Life of Marionettes" (1980) (103:48) * "After the Rehearsal" (1984) (73:01) * "Fanny and Alexander" theatrical version (1982) (188:47) * "Fanny and Alexander" TV version (1982) (with Play All) (320:57) - Episode One (95:44) - Episode Two (78:12) - Episode Three (60:06) - Episode Four (86:54) All films are in their original uncut form, except "Scenes from a Marriage" which is only available here in the shortened international theatrical version. Both versions of "Fanny and Alexander" are available here, with the original theatrical version and later re-edited television version.
Audio
Swedish LPCM 1.0 mono ("Cries and Whispers" / "Autumn Sonata" / "Fårö Document 1979" / "Fanny and Alexander" / "After the Rehearsal") Swedish LPCM 2.0 mono ("Scenes from a Marriage") German LPCM 2.0 mono ("From the Life of Marionettes") Each film comes with its original mono audio track, with "From the Life of Marionettes" being the lone German language production while others are in their original Swedish. For the restored features, the mono tracks have been cleaned and restored with excellent balance, fidelity, and clarity. Hiss, pops, and crackle have been eliminated, dialogue, music and effects have been well balanced, and each sounding excellent throughout. "After the Rehearsal" unfortunately hasn't received the same treatment, as it includes some audible hiss and pops, though not too distracting for the overall experience. There are optional English subtitles in a white font for all features. They are well timed and easy to read. There are a few spoken English moments in "Autumn Sonata" which are not captioned. There are minor German portions in "Fanny and Alexander" which are intentionally captioned as German, rather than translated. The subtitles are well translated, though there eas one moment in "Cries and Whispers" in which one says "Agnes is very poorly", which seems to be missing a word, as it correctly should be "Agnes is doing very poorly."
Extras
Ingmar Bergman Volume 4 is a 6 disc set, with the films being on the following discs: DISC ONE * "Cries and Whispers" (1972) (91:15) DISC TWO * "Scenes from a Marriage" theatrical version (1973) (169:56) DISC THREE * "Autumn Sonata" (1978) (92:35) * "Fårö Document 1979" (1979) (103:44) DISC FOUR * "From the Life of Marionettes" (1980) (103:48) * "After the Rehearsal" (1984) (73:01) DISC FIVE * "Fanny and Alexander" theatrical version (1982) (188:47) DISC SIX * "Fanny and Alexander" TV version (1982) (with Play All) (320:57) - Episode One (95:44) - Episode Two (78:12) - Episode Three (60:06) - Episode Four (86:54) This is a six-disc set, though only two of the discs have extras. They are very minor, as they are two reissue trailers. DISC ONE "Cries and Whispers" 50th Anniversary UK Trailer (1:31) A newly edited trailer for the theatrical reissue by the BFI, which was re-released in UK cinemas on April 1st, 2022. The trailer has been embedded below. in 1080p AVC MPEG-4, in 1.66:1. in Swedish LPCM 2.0 with burned-in English subtitles DISC FIVE "Fanny and Alexander" UK Reissue Trailer (1:38) Another newly edited trailer for the theatrical reissue by the BFI, which was re-released in UK cinemas for Christmas 2022. The trailer has been embedded below. in 1080p AVC MPEG-4, in 1.66:1. in Swedish LPCM 2.0 with burned-in English subtitles Book A 96 page book is included, with essays on each film, film credits, special features information, transfer information, acknowledgements, and stills. The first essay is "Of Wordless Secrets: Cries and Whispers" by film critic Geoff Andrew and how the film changed the way he viewed cinema and information about the film. Next is "A Love Song to Divorce: Scenes from a Marriage" by film critic Catherine Wheatley on the film, its theme, and its characters. "Duet for Three: Autumn Sonata" by journalist Leigh Singer on the characters and the film's background. Geoff Andrew returns for "No Man Is an Island: Fårö Document 1979" and his look at the documentary. The next essay is "Masters of Puppets: From the Life of Marionettes" by ilm tutor and author Andrew Graves on the film. "Bergman's Farewell to Cinema: Fanny and Alexander" by critic Philip Kemp is a look at the director's biggest and film cinematic work. Finally, there is "A Travesty of a Work of Greatness? After the Rehearsal" by film writer Ellen Cheshire on the work. Of all four Bergman boxsets released by the BFI, this is unfortunately at the bottom in terms of bonus features. Some essential vintage footage and documentaries exist on these films, and their lack of inclusion is unfortunate. One of the biggest losses is the original version of "Scenes from a Marriage" not being included, with only the condensed international theatrical version present here. Also not included is "Saraband", the 2003 television film that reunites the characters from "Scenes from a Marriage" and was Bergman's final screen work. There are a few other Bergman directed features from this period that were not included, due to rights issues., but for "Saraband", Tartan had the UK rights on DVD. As a number of the old Tartan releases have been reissued on Blu-ray in the UK by the BFI in these collections, one has to wonder who has the rights to "Saraband" at the moment. "Cries and Whispers" had some silent behind the scenes footage and press conference footage announcing the project. "Autumn Sonata" had a massive 210 minute documentary feature on the making-of, directed by Bergman himself. "Fårö Document 1979" is absolutely incomplete without the 1970 precursor "Fårö Document", which is only glimpsed at with clips in the later documentary. "Fanny and Alexander" also had a lengthy documentary directed by Bergman, which ran 110 minutes. All of these were featured on the US Criterion Blu-ray releases, which also had additional vintage and restrospetive interviews and documentaries, and much more. Other notable clips: BFI's promo trailer for Ingmar Bergman Volume 4. Criterion's "Three Reasons" for "Cries and Whispers". Trailer for "Cries and Whispers" with commentary by Bernard Rose for Trailers from Hell. A clip of a Q&A with Liv Ullmann discussing "Cries and Whispers". Best Cinematograhphy at the Oscars for "Cries and Whispers". A clip from a restospective interview with Liv Ullmann on working with Erland Josephson on "Scenes from a Marriage" from the Criterion release. A clip from a restospective interview with Liv Ullmann on "Autumn Sonata" from the Criterion release. Ingrid Bergman interviewed by Dick Cavett about "Autumn Sonata" A clip of Liv Ullmann discussing about Ingrid Bergman. A Q&A with Liv Ullmann on "Autumn Sonata" at Coolidge Corner Theatre. 1978 conversation with Ingmar Bergman and Melvyn Bragg for "The Southbank Show", after he finished production of "Autumn Sonata". Best Costume Design and Best Art Direction at the Oscars for "Fanny and Alexander". Best Cinematography at the Oscars for "Fanny and Alexander". "Fanny and Alexander" receiving Best Foreign Language Film at the Oscars. Critic Mark Kermode's introduction for "Fanny and Alexander" on the BFI Player.
Packaging
The boxset is limited to 5000 copies.
Overall
"Ingmar Bergman Volume 4" collects an incredible amount of work from one of the most talented directors the world of cinema has ever seen with his later period. The BFI's boxset has great transfers for almost all the works with image and sound, with the exception of the SD-transfer of one feature. Extras are the biggest disappointment, as there are no lengthy making-ofs or commentaries included, and equally disappointing is that it doesn't include the original version of "Scenes from a Marriage". The book is excellent with a lot of information, but this final box doesn't quite have the same level of recommendation as the previous sets.
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