bergman season at NFT: what movies do I go to see? + C/D

Bergs I wld like to see: 'Hour of the Wolf', 'Shame', 'The Rite' and 'A Passion'.

First let me be heretical: Wild Strawberries bored me wildly. However, Bermgan is still firmly entrenched as one of my favorite filmmakers on the basis of Seventh Seal, Cries & Whispers and to a slightly lesser extent Persona. So what next must I see? John's description of Silence sounds like the best candidate.

On my Underappreciated list are The Magician and After the Rehearsal.

i am a wee bit hard on glass darkly and winter light in it (innit), but the silence is MUCH more must-see i think

(xpost)

My favorite: Shame, which took the austerity of his chamber dramas in a bold and frightening direction. It's probably the most convincing depiction of a postwar environment on film.

not to forget the constant (air conditioner?) humming in the background (which, in retrospect, might have been the bad print i saw)

eraserhead meets touch of evil meets eloise

http://ludovicmaubreuil.hautetfort.com/images/medium_eraserhead.jpg

ullman series at BAM, which should i go see

Shame
Persona
Hour of the Wolf
Scenes from a Marriage
Saraband
Faithless (Trolösa)
The Passion of Anna (En passion)
Cries and Whispers (Viskningar och rop)
The Serpent’s Egg
Autumn Sonata (Höstsonaten)

see persona, it's one of the 4-5 best movies ever. then probably cries and whispers. i haven't seen a bad one yet.

Shame Shame Shame

Persona's great, but seems to screen fairly often in NY. I'd vote for *Cries & Whispers* or *Scenes,* esp. if you're up for some uncomfortable intensity. (The former made me gasp out loud at home). Skip *Saraband* (unless you've already scene *Scenes*--it's a sequel) and Faithless (Ullman directed, from a Bergman script).

Sat down tonight intending to watch Wild Strawberries, but looked at this thread and decided to go with Persona instead.

thankig u, ilx

it is more Behind-the-Eric-Ambler-Curtain, i think (ie not really a geographical-historical place so much as an menacing idea of a politics) eraserhead meets touch of evil meets eloise

it's heAH: http://freakytrigger.co.uk/see/2005/01/secret-pash-residue-its-actually-kinda-nice-to-rediscover/

fwiw

Thanks!

Bonus points for Old Skool Halliwell quote.

Shame holds up so well.

cries & whispers, wild strawberries and persona are all on MUBI right now, none of which i've seen: which should i watch?

(none of them tonight: ferrera's king of new york feat.cwalken leaves at midnight and i haven't seen it since it came out)

All of them, with caveats

I'd go with Wild Strawberries, though its been ages since I've seen the other two.

Persona

I watched king of New York for the first time today and understood for the first time why my gay mum fancies Christopher Walken

Cueing up wild strawberries now, which I've also never seen

xpost

but yes, Shame is amazing

you should def watch all of them

cries & whispers, wild strawberries and persona are all on MUBI right now, none of which i've seen: which should i watch?

(none of them tonight: ferrera's king of new york feat.cwalken leaves at midnight and i haven't seen it since it came out)

i am yes

sorry

Watch all of them, yes - my favourite is Cries & Whispers (its just my fave Bergman full stop)

Through a Glass Darkly also on MUBI so I'll try and watch that.

yep i have TaGD on ancient crappy video

i missed wild strawberries thru bein dumm

watching the 3-hr fanny & alexander now: so great

ewa fröling just screaming at her husband's death right now

and then the funeral, and we're thrown back into something half victorian, half-medieval

gunn wållgren as the grandmother is terrific: she was more or less the matriarch of swedish film at this point also, and died only a year after the film came out

Through a Glass Darkly was excellent though I'm still digesting it. Take him for granted, need to re-watch some more.

What an amazing streak between at least 1953 and 1982. It would be far more difficult to determine what's not worth seeing… but fwiw Bergman himself considered the comedy All These Women aka Now About These Women a relative failure. My least favorite in that period would be The Touch, the English-language one with Elliott Gould.

15 years on and we have another. Its not called the NFT anymore.

Saw Winter Light yesterday (the only one of the so-called Trilogy of Silence I hadn't seen). So so much to say - for a start Nykvist's cinematography was just something else (I mean I knew that but to encounter it on the big screen for the first time in well, 15 years, as oposed to seeing it on TV screens). Could spend a long-time just looking at those shots. Then Bergman's writing is so good - just no fat whatsoever, the editing infuses it with mystifications, the in-built subtle play with causation as the day unfolds. Then there's the acting, which is so good - although you also fear it came at a cost to all concerned. To think there was another 30 years of this, when it was all so THERE.

Ones I am going to see: The Passion of Anna, Autumn Sonata and possibly All These Women (the last one is a comedy).

This time around its spread over three months as oposed to two and the BFI are organising it in these strands - so if you want to see his films on love, well you know where to go for the heartbreak.

Went to a three hour screening of the complete TV version of Face to Face and what is it? So much of a culmniation of everything up to that moment with a look forward to the rest of it - the failure of talk to cure the ills (Persona), those inventive and yet tough dream sequences (Wild Strawberries), the aborted at birth relationships (The Passion of Anna), his obsession with the tick-tock of time and the games with death. Shades of Amour with Jenny's grandparents (sans sadism) (and Ullmann for Huppert). Its the kind of thing that makes me want to re-watch a dozen Bergman features and take note of what he is doing just here. It felt inexaustible.

And to top it off the couple behind me were divided on it - one seemed to like it, the other hated it. That's always funny to me.

In Bergman's book Images, he reveals he thinks he utterly failed with F to F, esp re dreams/reality compared to Wild Strawberries.

IB:

Dino di Laurentiis was delighted with the film, which received rave reviews in America. Perhaps it did present something new that had never been tried before. Now when I see Face to Face, I remember an old farce with Bob Hope, Bing Crosby, and Dorothy Lamour. It's called The Road to Morocco (David Butler, 1942). They have been shipwrecked and come floating on a raft in front of a projected New York in the background. In the final scene, Bob Hope throws himself to the ground and begins to scream and foam at the mouth. The others stare at him in astonishment and ask what in the world he is doing. He immediately calms down and says, 'This is how you have to do it if you want to win an Oscar.'

When I see Face to Face and Liv Ullmann's incredibly loyal effort on my behalf, I still can't help thinking on The Road to Morocco.

(Ullmann got the second of her two Oscar nominations for the film.)

http://www.ingmarbergman.se/en/production/face-face

Yeah there was an excerpt of that part from Images in the programme notes.