Final theatrical film of the two Bergmans (since Fanny & Alexander was shot for television), and each Bergman got an oscar nomination (as did two unrelated songwriters named Bergman that year), but were no match for Hal Ashby’s Coming Home. Began shooting three days after I was born. First Bergman film I’ve seen shot in color, except for Saraband which I barely remember.
Opens with Liv Ullmann’s pastor husband narrating to us about her. Later Ingrid will speak aloud as in a play. There are flashbacks (either remembered or imagined) and a nightmare scene, all more theatrical and artificial than the other Bergmans I’ve been watching. It makes sense to watch this right after The Silence, which is also about two family members revealing their hatred for each other over the course of a night and day. However, I’d heard The Silence was one of Bergman’s top masterpieces, and I liked this one better – thought the conflict had a better and more explicable build-up.
So Ingrid plays the famed concert pianist mother of Liv, who has a more modest life in the country with her husband. Unbeknown to Ingrid, Liv is also housing her disabled younger sister Helena (Lena Nyman of I Am Curious), whose presence shakes Ingrid, reminding her of her failures as a mother, which Liv reminds her more and more about until Ingrid is driven from the house for what seems like the final time, riding home on a train alongside Winter Light‘s Gunnar Bjornstrand. It’s all very intense and poisonous and makes you wonder about Ingmar’s obsession with family members’ simmering hatred for each other. Looks absolutely splendid, though.
Watched some of the extras – played through the commentary but didn’t have the stamina for the full 3.5-hour making-of, right after watching the similar full-length doc about Winter Light.