Summary:
Two women return home to visit their dying sister, only to have repressed tensions come to light.
My Thoughts:
I feel like I’ve seen a decent amount of Bergman films (more than the average bear, at least), and I think I’m right in saying that this is the most emotionally devastating Bergman film I’ve seen. In my reviews for many of Bergman films I’ve said that I find Bergman is a tough director to watch, and this film is a perfect illustration of why. As a film, it’s complex, beautifully shot, the characters are intricate and compelling even if they are horrible to one another, and the themes that Bergman addresses are intense but poignant; that being said, I feel like I went through hell watching this movie. I could absolutely believe that if this were someone’s first impression of Bergman, they might not want to go back. There is no joy, no hope, only suffering and sadness. That being said, this movie is a transformative experience, and to give it anything less than a perfect score would be a travesty; I do think the right crowd will be blown away by this film (I was, but I’m obsessive about Bergman), but this film is probably more for those who have had an interest in art house cinema for a while. If you’re new to Bergman, maybe don’t start here. If you’re experienced with Bergman, give this a go; it’s crazy good.
Also, just a heads up there will be some spoilers peppered throughout this review, but the spoilers shouldn’t really take away from the emotional impact of the story. Knowing what’s going to happen is nothing like experiencing this film firsthand.
“Plead with him to give meaning to our lives.”
After it is found out that Agnes (Harriet Andersson, “Summer with Monika”) is dying, her two sisters, Karin (Ingrid Thulin, Wild Strawberries) and Maria (Liv Ullmann, “Hour of the Wolf”) return home to visit her and say their goodbyes. Agnes suffers greatly as she dies, and her servant girl, Anna (Kari Sylwan, “Suss Gott”) does her best to help alongside the sisters. As the three sisters wait for death to come, they all remember the horrible things they’ve done in their lives, both to each other and to the people they claim to love.
So, really, the writing and directing is what stood out to me most in this film. Bergman again blurs the line between reality and dream (nightmare) through his use of flashbacks and fantasy sequences. The way the film begins is slow and ethereal, we push in on the home where much of the film takes place, and watch as one of our characters rises from slumber. The scene is lengthy, almost as if Bergman wants you to feel like you, the viewer, are coming to your senses for the first time (he conveys a similar feeling in Persona with the opening montage, but this is far more subdued and simple).
As we’re introduced to our characters, they each spend time detailing memories from their childhood, memories that live within the red walls of their home. At first, the memories are somewhat melancholy; one of the daughters talks about how their mother (also played by Liv Ullmann) always favored one of the other girls, and how their mother was a double-sided woman: pleasant sometimes, but cruel and heartless other times. As the memories continue to unfold, we’re shown glimpses into their lives now: both Karin and Maria have strained relationships with their husband, resulting in some quite horrific imagery and situations. Maria is by far the coldest sister; whenever she sees suffering she seems almost incapable of doing anything to help.
Agnes’s death is long and drawn out, and it’s absolutely heart wrenching to watch. Bergman turns his lens towards her suffering multiple times through the film, and each time her condition worsens. She writhes about in pain on the bed, calling for someone to ease her suffering, but neither sister is able to do anything to help. In what is perhaps the most eye-opening scene of the film, Maria actually flees the room when Agnes continues calling for help, and it’s Agnes’s servant Anna that comes to her aide. The guilt Maria feels for fleeing the room becomes a huge burden for her to bear for the remainder of the film, resulting in a dream sequence that feels like it’s straight out of a horror film.
Bergman transforms the red house into a hellish compartment for human misery, and the result is absolutely devastating. By the time Agnes has died and the sisters have said their parts, we’re almost itching to leave the house. The final sequence, where the sisters part and return to their lives, is a reprieve from that hell that Bergman has thrust us into, but the sequence hints that there is still turmoil beneath the surface. Maria seems content to ignore the horrible things that happened to in her life, she seems content to just ignore death until she’s forced to confront it again, and Bergman just wants to leave us with the question: is it okay to live like that?
Verdict:
This is a masterful film by a wonderful director, but it’s also one of the more depressing movies I’ve seen this year. I absolutely recommend it, but be prepared for emotional distress.
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