Criterion Sunday 261: “Fanny and Alexander Box Set”

Bergman intended this 1982 film as his final feature, and after a three-hour cut released to cinemas, he reworked it into the cut which here is called the “Television Version” but actually remains just a longer, more fully-realised feature film.

Chief among the supplementary materials is Bergman’s own Making of Fanny and Alexander (1984), which has its own spine number and therefore I’ll review separately, though in the Blu-ray release it sits on the ‘supplements’ disc.

CRITERION EXTRAS:

  • One of the documentaries commissioned for the Criterion release is Fanny & Alexander: A Bergman Tapestry (2004), a very solid 40 minute featurette which catches up with many of the key participants in the making of the film just over 20 years later, including the boy who plays the title role (Bertil Guve, now fully grown of course), as well as some producers, the art director, and a number of the actors (of whom all but Erland Josephson speak perfect English). They give a richer sense of working with Bergman, as well as the way the film was made, with a few additional insights into the filming and production of some of the scenes that don’t make it into Bergman’s contemporary The Making of Fanny and Alexander.
  • There is also Ingmar Bergman tar farväl av filmen (Ingmar Bergman Bids Farewell to Film, 1984), a straightforward Swedish television interview of Bergman, as he sits on a couch facing the interviewer and talks about the making of Fanny and Alexander. A number of the questions are attempting to elicit some autobiographical motivation, which Bergman fairly strenuously denies, while admitting there are elements of himself in many of the characters. He’s certainly not on board for the reading that the grand Christmas celebrations seen on film reflect something he likes, so he still on the whole comes across as a grump, albeit one with an at times impish smile. The one topic they don’t address is his bidding farewell to film, and given his subsequent output, I guess he didn’t.
  • There are also a number of image galleries, including pictures of Bergman on set with his actors and his DoP Sven Nykvist, probably his closest collaborator. There are also images of the costume sketches, set alongside how they appeared in the final film, plus a short video run through of the various set models (again, with the finished film for comparison).

Only You (2018)

Josh O’Connor already starred in probably the most celebrated British romantic drama of 2017, God’s Own Country, but whether playing gay or straight it turns out he seems to be suited to difficult, bruising romances far better than the light and fluffy kinds which are released on Netflix every other week. This film, directed by a woman (don’t be confused by her name), is built around pregnancy just like in, say, Alice Lowe’s Prevenge (2016), but takes a somewhat different approach.


This is a very romantic film, distilled down to something very elemental; you could call it a two-hankie weepie even. Jake (Josh O’Connor) and Elena (Laia Costa, who was in Victoria) are two young people (though she’s a little older than he is) who meet cute in Glasgow. Neither of them are Scottish (he’s English, she’s Spanish), and it becomes clear that this is set before Brexit as the film progresses, otherwise her resistance to marriage might seem somewhat self-defeating. Nevertheless, they hit it off and pretty soon there’s a sex scene where he suggests having a baby, which feels like a stretch to assume after such a short time that she’d want to conceive, but pretty soon that becomes an obsession for her, and thereafter everything starts to unravel. There’s coordinating their sex with her fertility cycles, then the IVF and the injections (which all entails money), and the constant pregnancy tests followed by crying jags in the bathroom, and their strained relationship as a result of all this. We talk a lot in our current culture about “toxic masculinity” — that set of codes that defines and limits how men are supposed to act in the world — but this film seems to be about whatever women’s equivalent to that is: a slightly insidious idea that to be doing womanhood correctly you need to have a baby (which even if you’re only thinking about cis womanhood, is deeply problematic). And so Elena gets the little nags from those around her, finding that all her friends are starting to have kids, and she starts to feel excluded from gatherings and become desperate to be part of the in-group. It should really be a lot more painful a film than it is (and I don’t doubt it will be to some people), but the director manages to get her actors to find the humanity and the warmth underneath all this, so that it’s never quite as bleak as it could be.

Film posterCREDITS
Director Harry Wootliff; Writers Wootliff and Matthieu de Braconier; Cinematographer Shabier Kirchner; Starring Laia Costa, Josh O’Connor; Length 119 minutes.
Seen at Curzon Bloomsbury, London, Saturday 13 July 2019.

Two Films by Carlos Reygadas: Battle in Heaven (2005) and Our Time (2018)

For most of the past week, my blog has been focusing on the Golden Age of Mexican cinema, with a roster of mighty melodramas, but in the modern era directors like Alfonso Cuarón, Guillermo del Toro and Alejandro González Iñárritu have found box office success (both in Mexico and in the United States, where many of them work now) in a variety of genres, though often still tending towards the dark and thorny. None has gained quite as much fervid festival acclaim (not to mention exasperated brickbats) than Carlos Reygadas, who unlike his contemporaries has remained in Mexico to make his films, rich with religious symbolism, copious sex and an austerely formal camera style. He made his name with Japón (2001, which is on the Criterion Collection now), and followed with the divisive Battle in Heaven (2005, below), with its Bressonian approach to non-actors combined with rather more florid content than Bresson would ever have countenanced. 2007’s Silent Light is to my mind his finest picture in terms of reconciling his themes and formal style, dealing with a Mennonite community, but Post Tenebras Lux (2012) has many admirers. His most recent film (Our Time) is also his longest, and is reviewed below.

Continue reading “Two Films by Carlos Reygadas: Battle in Heaven (2005) and Our Time (2018)”

Criterion Sunday 237: Sommarnattens leende (Smiles of a Summer Night, 1955)

I’ve seen this Bergman film before and what I like about this comedy — and it is very much a comedy, even if it has moments of existential doubt and crises of faith — is that its characters are so flamboyantly ridiculous. At least, I should say, its male characters: the pompous lawyer Fredrik with his ridiculous beard (though his charm seems largely that he’s aware of how he’s mocked); Count Malcolm with his high-handed manner; and the foolish young Henrik, who falls for Fredrik’s younger bride. Sondheim adapted all of this for a musical, and that all makes perfect sense when you see this parade of emotions play out on screen, with particularly strong roles for the older woman Desirée who so effortlessly manipulates everyone around her, not to mention the maid Petra who cares so little for their bourgeois affectations. It’s a fun film, and one that I wish more of Bergman’s filmography could be like.


FILM REVIEW: Criterion Collection
Director/Writer Ingmar Bergman; Cinematographer Gunnar Fischer; Starring Eva Dahlbeck, Harriet Andersson, Gunnar Björnstrand, Ulla Jacobsson; Length 111 minutes.

Seen at home (Blu-ray), London, Friday 22 February 2019 (and originally on DVD at home, London, Monday 12 August 2013).

Criterion Sunday 229: Scener ur ett äktenskap (Scenes from a Marriage, 1973)

A quintessential Bergman-esque chamber drama of a couple dealing with their slow break-up and rapprochement over a period of about a decade, told in six chapters (six hour-long episodes in the TV version, but I watched the film version at half that length). There is barely anyone else on screen for the running time, and that’s really not much of an issue, because this is about these two people and the particular way they seem so happy together but, actually, aren’t. The acting is excellent, but I’m not sure I can summon enthusiasm for Bergman’s dramatics at this point in my life. However, I certainly wouldn’t wish to discount it: I was all ready to be very cynical early on, but I concede that the drama did eventually reel me in somewhat (even if I don’t accept this is necessarily how all marriages are).


FILM REVIEW: Criterion Collection
Director/Writer Ingmar Bergman; Cinematographer Sven Nykvist; Starring Liv Ullmann, Erland Josephson; Length 167 minutes.

Seen at a friend’s home (DVD), London, Sunday 14 October 2018.

Criterion Sunday 212: Ingmar Bergman gör en film (Ingmar Bergman Makes a Movie, 1963)

A documentary tracking Ingmar Bergman during the making of Winter Light, split into five roughly half-hour chunks, as it was originally made for Swedish TV. That film is one of my favourite of Bergman’s efforts, and he seems relaxed talking about its making in great detail. We also get a chance to see some of the filming, as well as comparisons of differently-edited versions of the same scene, all presented by the director of the I Am Curious diptych. Fans of Bergman will undoubtedly get a lot more out of this fairly dry documentary than I did, but it gets into the craft a lot more than most filmmaker puff pieces.


FILM REVIEW: Criterion Collection
Director Vilgot Sjöman; Cinematographer Mac Ahlberg; Starring Ingmar Bergman; Length 146 minutes.

Seen at a friend’s home (DVD), London, Monday 23 April 2018.

Criterion Sunday 211: Tystnaden (The Silence, 1963)

Bergman’s ‘faith’ films have been growing on me somewhat as I’ve watched them, and in some ways this is the most stripped back. As the title suggests, it is a quiet film, with long stretches lacking dialogue. It helps too that it’s set in a fictional central European/eastern European country where none of the principal characters understands the language (which looks like Serbian or Czech, but sounds a bit French or German). There’s a sense of a world still recovering from a war (World War II is undoubtedly the reference point), and one abandoned by faith, although in some ways Bergman’s deployment of those tropes are the weakest in the film for me. What I liked was the suffocating atmosphere, lustrous close-ups and enigmatic actions blending together to create a strange dreamlike affect. It’s one I’ll need to see again to properly appreciate, I suspect.


FILM REVIEW: Criterion Collection
Director/Writer Ingmar Bergman; Cinematographer Sven Nykvist; Starring Ingrid Thulin, Gunnel Lindblom; Length 105 minutes.

Seen at a friend’s home (DVD), London, Sunday 15 April 2018.

Criterion Sunday 210: Nattvardsgästerna (Winter Light, 1963)

The second of Bergman’s loosely-defined faith trilogy, I do much prefer Winter Light to Through a Glass Darkly, though obviously they share a number of threads — the idea of God as a spider, a questioning attitude to the divine presence, many of the same actors and Sven Nykvist’s extraordinary camera. This film has a lugubrious pace, but also, at times, touches of what seem like humour (much the way I find humour in Bresson too: utterly po-faced, but yet somehow not without mischief). Its central character, a priest (Gunnar Björnstrand), is unable to reach God, feels himself a failure, and watches as his congregation dwindles. The film’s title in Swedish is “The Communicants” and there’s a sense in which each character in the film is trying to somehow commune with God. If the previous film posits Love as the connecting force, this seems far more tenuous here, though perhaps there’s something there, like an empathy which Björnstrand’s character so abjectly fails to achieve. One of Bergman’s better works, I think.


FILM REVIEW: Criterion Collection
Director/Writer Ingmar Bergman; Cinematographer Sven Nykvist; Starring Gunnar Björnstrand, Ingrid Thulin, Max von Sydow, Gunnel Lindblom; Length 81 minutes.

Seen at a friend’s home (DVD), London, Thursday 5 April 2018.

Criterion Sunday 209: Såsom i en spegel (Through a Glass Darkly, 1961)

I’m willing to concede that Bergman was a great filmmaker, and I have no doubt that if I came to this with the willingness to engage with it that Bergman comes to his filmmaking, then I’d probably connect with it more. It looks beautiful, to be sure, with lots of full-face close-ups, and that windswept Fårö scenery. It’s intense in its psychodrama, dealing as it does (and as is not unusual for the director) with faith, the connection with God, so tenuous and so alluring. The woman has mental health issues from which she’s recovering, and this much feels a little bit rote: beautiful women suffering for the love of God is something of a worn trope. But, as I say, were I to revisit this again, perhaps I would connect with it better, or perhaps if I came from a certain type of family, I’d appreciate the dynamics more.


FILM REVIEW: Criterion Collection
Director/Writer Ingmar Bergman; Cinematographer Sven Nykvist; Starring Harriet Andersson, Gunnar Björnstrand, Max von Sydow, Lars Passgård; Length 91 minutes.

Seen at a friend’s home (DVD), London, Sunday 1 April 2018.

Criterion Sunday 208: “A Film Trilogy by Ingmar Bergman”

You’re never far from a Bergman film in the Criterion collection — and indeed this “trilogy” includes four films, as one of them is a documentary about the making of Winter Light. As ever, themes of religious doubt and persecution come to the fore in all three, all of which have a cloistered setting and a rigorous technical mastery. There’s no doubt that Through a Glass Darkly, Winter Light and The Silence present a unified vision on the world, it’s just a rather austere one.