![]() By the time of Autumn Sonata,Ingrid was suffering terminal breast cancer and the film was to be her last. Yet this was a collaboration that very nearly did not happen. Bergman wrote Autumn Sonata in a few weeks, the fulfilment of an earlier promise to his Swedish contemporary Ingrid Bergman that he would include her in a film. How, then, to gain entry into Autumn Sonata, the inviting anteroom of Ingmar Bergman’s labyrinthine cinematic castle?īiography presents perhaps the most logical starting point. Employing cinematography of a lighter hue, and benefiting from the masterful acting of Ingrid Bergman and Liv Ullman playing Charlotte and Eva respectively, Autumn Sonata is one of Bergman’s more accessible films, and thus provides a gentle entry into his imposing corpus. A late-career chamber piece, with just a few characters and the contained setting of a country parsonage, it marks a return to the almost claustrophobic intensity of earlier films like Through a Glass Darkly (1961), Winter Light (1963), The Silence (1963) and Persona (1966), all of them clearly indebted to his work in theatre. ![]() If forced to choose, Autumn Sonata (1978)would be an appropriate place to begin. The edifice of Ingmar Bergman’s oeuvre is of such vast scope and is riddled with such ramifying thematic veins that it is almost impossible to treat any individual work in isolation.
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