Cries & Whispers (A- or 3.5/4 stars)
Cries & Whispers' is producer/writer/director Ingmar Bergman's haunting & emotionally shattering 1973 Swedish psychological drama that represents the quintessence of Bergman's art {dysfunctional families, unpleasant secrets, personal demons, death & despair}. 'C&W' also happens to be the 1st foreign film ever to be nominated for Best Picture at the Academy Awards. This is a beautifully photographed, superbly acted, but bleak & paiiinnnful to watch because of the intense emotional turmoil present throughout. The process of death CAN be therapeutic & bring beauty, but here, it's simply pummeling.
The setting is a remote Swedish manor house circa the year 1900 and, the story concerns the impending death of Agnes (Harriet Andersson), an unmarried woman in her 30s who is stricken with cancer. At the film's start, the disease is eating away at her, causing isolated moments of sheer physical agony; sometimes waking from sleep crying out in pain, desperate for relief. There are respites, as well; when she can find fleeting enjoyments in life's simple pleasures, like recalling better times with her family, lounging around striking red interiors of the mansion, or walks around the grounds of the estate. During her waning days, she is cared for by her kind, devout, ever-faithful maid, Anna (Kari Sylwan), and her two visiting, estranged sisters, Karin (Ingrid Thulin) & Maria (Liv Ullmann). Karin is an embittered, sexually repressed sort who hates her mean-spirited diplomat husband. And Maria is a sex-obsessed, shallow woman married to a lost soul, businessman.
Through the use of flashbacks & dream sequences, the time line of the narrative becomes intentionally muddled. While the main plotline focuses upon Agnes' approaching death, the film often goes back to the past; giving us great insight into Karin, Maria & Anna; showing various incidents from their lives that explain why they act as they do when faced with Agnes on her deathbed. Caretaker Anna is the only one capable of truly comforting Agnes; once, even offering her the consolation of warm, naked flesh as she allows Agnes to pillow her head on her bosom. Conversely, Karin & Maria are dreadful people; full stop. Karin is an ice queen. And Maria's self-centeredness deadens her ability to care for anyone but herself.
Cancer can be a gut-wrenchingly painful experience and, Harriet Andersson imbues that physical struggle so truthfully that we completely believe what Agnes is going through. She looks ravaged. Her bellows, whimpers, begs & bawls; all awful. She craves death ... & fears it. Ingrid Thulin radiates sheer cruelty as the emotionally wounded, self-loathing Karin; averse to intimacy with her husband & proclaiming her utter disgust for both sisters. In the movie's most ghastly scene, Karin mutilates herself with a shard of glass in her nether-regions to prevent her marital duties & then maniacally smiles at her husband before smearing the blood across her face.
Liv Ullmann brings her usual subtlety to a fairly extroverted role; only master thespians can do that. In one of her many great moments, a superficial, hesitant Maria refuses to help her husband when he stabs himself because of one of her many infidelities; this time, with the local doctor who had been treating Anna's ill young daughter. To call Ullmann's Maria calculating & manipulating is an understatement. And Kari Sylwan is great as Earth mother, Anna; the loyal, caring housekeeper who may or may not have an amorous relationship with her ailing employer, Agnes. The affection she is able to show Agnes - while dealing with her own personal sorrows - is quietly powerful; especially given the two sisters' insincere responses.
'Cries & Whispers' represents one of two cinematography Academy Awards won by master photographer Sven Nyqvist; the 2nd one was for Bergman's great 3 hour epic, Fanny & Alexander. This movie has a very specific look that is essential to setting the mood. The color red is everywhere; from the drapery, to the wallpaper, to the carpeting, to the sporadic use of blood ... red suffuses the screen -- signifying passion {or lack thereof) & sin.
Unsurprisingly, death is the predominant theme of the story; offering an emotionally turbulent look into the soul of someone dying, and those around them. As an agnostic, it seems that Ingmar Bergman is envious of those whose faith allows them to accept that a better afterlife awaits. To this, he ensures that his characters have the most miserable existence possible while they're alive, haha.
Like many Bergman films, 'C&W' can be quite the difficult to endure -- good thing it's only 90 minutes in length. His rhythm & pacing can be troublesome for less discerning viewers. Both dreamlike & surreal, this film impacts the soul of the viewer; where various disquieting images & emotional passages linger long in the memory. Bergman films do NOT have broad appeal, which may be why the acclaimed, esteemed filmmaker never even won a competitive Oscar from the Academy. Still, it is undeniable that his films pack an enormous psychological punch for anyone who gives themselves over to Bergman's gloomy, yet unique cinematic vision.
The setting is a remote Swedish manor house circa the year 1900 and, the story concerns the impending death of Agnes (Harriet Andersson), an unmarried woman in her 30s who is stricken with cancer. At the film's start, the disease is eating away at her, causing isolated moments of sheer physical agony; sometimes waking from sleep crying out in pain, desperate for relief. There are respites, as well; when she can find fleeting enjoyments in life's simple pleasures, like recalling better times with her family, lounging around striking red interiors of the mansion, or walks around the grounds of the estate. During her waning days, she is cared for by her kind, devout, ever-faithful maid, Anna (Kari Sylwan), and her two visiting, estranged sisters, Karin (Ingrid Thulin) & Maria (Liv Ullmann). Karin is an embittered, sexually repressed sort who hates her mean-spirited diplomat husband. And Maria is a sex-obsessed, shallow woman married to a lost soul, businessman.
Through the use of flashbacks & dream sequences, the time line of the narrative becomes intentionally muddled. While the main plotline focuses upon Agnes' approaching death, the film often goes back to the past; giving us great insight into Karin, Maria & Anna; showing various incidents from their lives that explain why they act as they do when faced with Agnes on her deathbed. Caretaker Anna is the only one capable of truly comforting Agnes; once, even offering her the consolation of warm, naked flesh as she allows Agnes to pillow her head on her bosom. Conversely, Karin & Maria are dreadful people; full stop. Karin is an ice queen. And Maria's self-centeredness deadens her ability to care for anyone but herself.
Cancer can be a gut-wrenchingly painful experience and, Harriet Andersson imbues that physical struggle so truthfully that we completely believe what Agnes is going through. She looks ravaged. Her bellows, whimpers, begs & bawls; all awful. She craves death ... & fears it. Ingrid Thulin radiates sheer cruelty as the emotionally wounded, self-loathing Karin; averse to intimacy with her husband & proclaiming her utter disgust for both sisters. In the movie's most ghastly scene, Karin mutilates herself with a shard of glass in her nether-regions to prevent her marital duties & then maniacally smiles at her husband before smearing the blood across her face.
Liv Ullmann brings her usual subtlety to a fairly extroverted role; only master thespians can do that. In one of her many great moments, a superficial, hesitant Maria refuses to help her husband when he stabs himself because of one of her many infidelities; this time, with the local doctor who had been treating Anna's ill young daughter. To call Ullmann's Maria calculating & manipulating is an understatement. And Kari Sylwan is great as Earth mother, Anna; the loyal, caring housekeeper who may or may not have an amorous relationship with her ailing employer, Agnes. The affection she is able to show Agnes - while dealing with her own personal sorrows - is quietly powerful; especially given the two sisters' insincere responses.
'Cries & Whispers' represents one of two cinematography Academy Awards won by master photographer Sven Nyqvist; the 2nd one was for Bergman's great 3 hour epic, Fanny & Alexander. This movie has a very specific look that is essential to setting the mood. The color red is everywhere; from the drapery, to the wallpaper, to the carpeting, to the sporadic use of blood ... red suffuses the screen -- signifying passion {or lack thereof) & sin.
Unsurprisingly, death is the predominant theme of the story; offering an emotionally turbulent look into the soul of someone dying, and those around them. As an agnostic, it seems that Ingmar Bergman is envious of those whose faith allows them to accept that a better afterlife awaits. To this, he ensures that his characters have the most miserable existence possible while they're alive, haha.
Like many Bergman films, 'C&W' can be quite the difficult to endure -- good thing it's only 90 minutes in length. His rhythm & pacing can be troublesome for less discerning viewers. Both dreamlike & surreal, this film impacts the soul of the viewer; where various disquieting images & emotional passages linger long in the memory. Bergman films do NOT have broad appeal, which may be why the acclaimed, esteemed filmmaker never even won a competitive Oscar from the Academy. Still, it is undeniable that his films pack an enormous psychological punch for anyone who gives themselves over to Bergman's gloomy, yet unique cinematic vision.