All the films from all the editions, including those subsequently removed, presently totalling 1167. An easy way of seeing how…
Through a Glass Darkly
While vacationing on a remote island retreat, a family’s already fragile ties are tested when daughter Karin discovers her father has been using her schizophrenia for his own literary means. As she drifts in and out of lucidity, the father, along with Karin’s husband and her younger brother, are unable to prevent Karin’s harrowing descent into the abyss of mental illness.
Bergman relaxes a bit with this one and sticks to more easygoing topics like suicide, incest, mental illness, and hatred. Pretty breezy stuff.
After watching this, I was curious what the title referred to. Looking it up brought me to the Wikipedia article on the Bible verse in which it is contained, and I was genuinely moved by the beauty of the verse, so I thought I would share it here (editing out the chapter numbers and such):
"Though I speak with the tongues of men and of angels, but have not love, I have become sounding brass or a clanging cymbal. And though I have the gift of prophecy, and understand all mysteries and all knowledge, and though I have all faith, so that I could remove mountains, but have not love, I am nothing. And though I bestow all my goods…
” I don't know if love is the proof of God's existence or if it's God itself.”
First part of Ingmar Bergman’s Faith trilogy is a film that leaves its viewers confused, scared and shattered, Through A Glass Darkly is a shuddering study of love, faith and human relationships which like most of Bergman’s films is seeking the answer to some of the most challenging questions that has ever crossed the mankind’s mind, for Bergman the answer to those questions is the key to an easier and less tormenting life, like the Swedish director himself, the characters of his films are struggling with those questions but most of the times there is no clear answer and sooner or later his…
This review reportedly contains spoilers. I can handle the truth.
After I watched the movie I felt pretty displeased with it. I went on to write a fairly lengthy 3-star "review" (4 to 6 paragraphs; for me that's a lot) pouring my soul out and giving arguments as to why I felt that way. But the more I would write the more I would come up with stronger counter-arguments in favor of the movie. After a few frustrating hours and a lot of thinking I've come to the conclusion that I was so affected by the film's bleak and hopeless tone that I inadvertently faulted it for being so dark.
The movie takes place during the course of 24 hours on an island where a family spends a vacation together:…
The guilt of a distant and egocentric father, mental illness, God, the love between a brother and sister (which I didn't find incestuous at all) art, life and who you may hurt when life becomes art.
If this isn't your first Bergman film the cast is more than familiar and do a great job, as always. Lars Passgård, who plays the young brother Minus (what kind of name is that? I hope it's just a nickname) is a new face though, and I'm of the opinion he stayed unknown for a reason. The care and desperation came through though, and Harriet Andersson's performance is more than great. Giving her character just right amount of insanity, confusion and sadness. For every…
"One draws a magical circle around oneself to keep everything out that doesn't fit one's secret games. Each time life breaks through the circle, the games become puny and ridiculous. So one draws a new circle and builds new defenses."
Ingmar Bergman doesn't need a plot or narrative, he takes the natural simplicity of existence and toys with reality and consciousness in order to experiment with life's complexities. Through a Glass Darkly is a visual conception with a philosophical way of thinking. Passionately examining moral and spiritual nature and the effects uncertainty has on the mind.
Karin (Harriet Andersson), who is suffering from a terminal illness and was recently released from an asylum, retreats to a remote island with her…
Visually gorgeous, wonderfully written and directed, acting phenomenal... It's just not an easy watch, or something I see myself revisiting. A nice chamber drama, and an interesting introduction to Bergman for me, but... It felt so cold. The fluctuation between deep wideshot and closeup forced the actors to give it their all, but kept the audience pretty distanced. Which was an interesting approach, but I wish during the first half it was a little warmer, so we cared about the characters a little more as we hit the hard, hard, hard and dark (yet oddly optimistic) second half.
What a fucking great ending, though. Sad, sad as hell, but optimistic, and it hits so well.
Wish it was a cut to black, though. Would have hit harder, I think. The last shot would have been slightly more memorable.
Primera vez que veo en este hombre una primacía en el "que te estoy contando" sobre el "te lo estoy contando yo, eh, mírame" que tantísimo me desconecta de su obra. Sigo teniendo problemas con ella inherentes al estilo de este señor (ya me resigno a ello), pero siento una mayor fluidez en la dinámica "autor-tema-Yo" (Bergman tiene que ser el Autor al que, sorprendentemente, menos me gusta oír hablar de religión) que con lo otro que he visto del sueco. Mientras tanto, en el apartado de cosas obvias; Andersson es perfecta, Nykvist es patrimonio de la humanidad, Bergman sigue sin ser mas que un aspirante a Dreyer y el agua moja.
Devastating yet hopeful. This is gorgeous stuff about mental illness and how to reconcile selfishness with caring for others.
I'm not a hundred percent on how on-the-nose the metaphysical qualities of the dialogue are. The last lines don't simply convey the film's objective--it sort of shouts it.
Otherwise, this a very tender movie and a must for Bergman fans. The performances are solid despite the dialogue, and Sven Nykvist's cinematography is gorgeous. Give it a watch and decide for yourself if it's for you.
My third Ingmar Bergman film. The first being Seventh Seal. The second being Wild Strawberries. So far, this is my favorite. This film has convinced me that Ingmar Bergman is a lost puppy. I know the characters are ignorant and flawed on purpose, but the conclusion that the father came to was ridiculousness. The culminating events of ignorance support my thesis that the father is meant to be right in the end, as a means for Bergman to express his final comforting conclusion about his journey as a writer, who was too caught up in art to focus on life. Absolutely true, and his whole thing about God being love was stupid, so unfortunately, the guy is still lost. But I like how he still acknowledges he's probably just bullshitting himself. Anyways, what a wonderful display of wandering and loss of connection with God.
A heady, heavy, and altogether brilliant film that asks no easy questions and gives no easy answers. Bergman's themes of god's absence and existential dread are present but they serve the story incredibly well and are more potent than his other films. I was floored by the film's aesthetic and the not-holds-barred performance from Harriest Andersson who makes her character wholly believable and sympathetic, even in the face of extreme mental illness. All of the men in her life have failed her not by trying to help her or change her, which they do, but because they don't attempt to understand her. Karin eventually, finally, sees the face of god but, in a horrific, compelling scene, she doesn't like at all what she sees. All the characters in the film are experience a profound spiritual crisis from which they are trying to climb out.
Wish most modern day movies were shot like this.
Last view was in 2009.
Ingmar Bergman once described Through a Glass Darkly during an interview as being a film "set on an island, with four people who rise up from a twilight sea in the first scene and walk ashore to begin the drama". It is such a brief description, but one that in many ways echoes the efficiency of his work and also tells us so much about his intent. Using this sentence alone, we can almost deconstruct the film: the island becomes both the main protagonist and the stage itself, upon which four figures must alight before the narrative wheels can be set in motion. And the idea of rising up from a body of water, too, seems to reflect the transitional…
Great 60-90 min films (for those days when you just don't have the energy to watch a 3 hour masterpiece)
Doesn't the title of the list explain it well enough? This is a list of 200+ quality "short" films. Easy…