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Persona
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Directed by Ingmar Bergman.
Persona is difficult to characterize in simple terms, but it may be helpful to describe this complex film as being an exploration of identity that combines elements of drama, visual poetry, and modern psychology. The central story revolves around a young nurse named Alma (Bibi Andersson) and her patient, a well-known actress named Elisabet Vogler (Liv Ullmann). Elisabet has stopped speaking, and the attending psychiatrist treats the actress by sending her to an isolated seaside cottage under Alma's care. There the nurse, who must do all the talking for both women, becomes a little enamored of the actress. One evening Alma tells Elisabet about some exhilarating sexual experiences she once had and their unpleasant aftermath. Soon after sharing this confidence, the nurse reads a letter Elisabet has written and is shocked to learn that the actress thinks of her as an amusing study. The relationship between the women becomes tense, and they wound each other. Then Alma has a long dream in which her identity merges with that of Elisabet, but when the nurse awakes, both women have apparently come to at least temporary terms with their psychological problems. ~ All Movie Guide
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SpoutBlogSpoutBlog Camille Paglia: Star Wars is a ...
by SpoutBlog in SpoutBlog on spout.com
hasn't rated it.
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"Once a month, cultural critic Camille Paglia publishes a lengthy assessment of the current moment in pop culture at Salon.com. This month’s installment went live today, and the meat of it is an Antonioni/Bergman inspired elegy for the art film. The whole piece is, as is the norm for Ms. Paglia, terribly quotable, but the part where she appears to elevate the entire Star Wars series to the status of those late Europeans’ “masterpieces” is probably the most controversial: On the culture front, fabled film directors Ingmar Bergman and Michelangelo Antonioni dying on the same day was certainly a cold douche for my narcissistic generation of the 1960s. We who revered those great artists, we who sat stunned and spellbound before their masterpieces — what have we achieved? Aside from Francis Ford Coppola’s Godfather series, with its deft flashbacks and gritty social realism, is there a single film produced over the past 35 years that is arguably of equal philosophical weight or virtuosity ... " [More]
jlgdrdjlgdrd Beyond Reach: Son Frere
by jlgdrd in Wicked Fun
loved it.
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"The controlling idea behind Patrice Chereau's Son Frere is the painful, tragic lack of closeness between men. It is mostly Luc's story, how his brother Thomas's disease becomes a watershed for their troubled relationship. An incident that Thomas cannot remember, and we are never shown, has had far reaching consequences that the two might never have confronted, had it not been for Thomas's sickness. The plot is alarmingly simple. Thomas (Bruno Todeschini) comes back into his brother Luc's life because he does not want to face illness and possible mortality by himself. Of all the people in his life, he has sought out his younger brother for solace and comfort. Luc (Eric Caravaca) makes it clear that he will take care of him because this is what brothers do for one another, but he cannot forgive Thomas for deserting him. He'll go through the motions, but his heart won't be in it.It is never quite revealed if Thomas has done something unforgivable and Luc ha ... " [More]
WiskaraWiskara I see a theme here
by Wiskara in Wiskara Blog
hasn't rated it.
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"Again, another movie that I was talked into, not by my husband this time but by my mother. Dear mother is a psychotherapist (which explains a lot about me) and thought that this was good Sunday night fun. Wow... what to say. I did not like the spider scene but that really was so minor I just mention it to warn other who like to know if spiders exist in a film prior to viewing it. The touching of the sheep's eyeball was also a bit unsettling but was obviously ment to be that way. All in all the film was good. Not so much fun while you are watching it but one of those that if you go back and think about it you realize how complex the story was. I have heard this movie called an early Fight Club and I agree but I think Fight Club did it better. For sure this is a movie to watch at night and NOT alone, you have to discuss it or you will not think through everything that you should. The more time that passes from the actual movie viewing the better it seems - does that make any ... " [More]
aaronBsmithaaronBsmith Re: What makes a film "gre ...
by aaronBsmith in A Great Film
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"Sufficient conditions - a great story. A great story will have great characters. Production values can be nonexsistant, the budget can be small, the images can look shitty, but if the story is great it doesn't matter. I feel like am stepping into a quagmire of my own making on this point. I am always heralding films that lack "great stories." But, many of these films were made with a ton of passion. Films like, 8 1/2 or Persona. Do I think these two films are great because I know what's been said about them over the years, how many awards they've won and who they were made by? " [More]
Review by All Movie Guide
All Movie Guide
loved it.
A watershed film in its economy, symbolism, and frank sexuality, Ingmar Bergman's Persona ranks as one of the director's most personal pieces, breaking from his earlier, more explicit work in favor of the abstract, intuitive style that he would continue to develop in such films as Hour of the Wolf (1968), Shame (1968), and Cries and Whispers (1973). Bergman started work on Persona after a long hospital stay, and he described the seemingly random images that begin the film as a "poem," a proclamation of his renewal as an artist. The opening sequence sets the tone for the film to come, in which the characters are at the mercy not just of fate and desire but of filmmaking itself. When Bibi Andersson's nurse Alma comes to the bedside of Liv Ullmann's Elizabet one night, the mere suggestion of their hallucinatory encounter is enough to shake the film off its sprockets -- the celluloid literally breaks and melts on screen, before our eyes. At no other time in his career had Bergman seemed more trusting of his performers; he purges Persona of any narrative conventions but its two characters and their seaside setting. The final shot pans around to expose the crew and equipment making the movie, a self-reflexive gesture, as in the later A Passion (1970), which suggests that not even filmmaking can completely dissect the mysteries of the human heart. ~ Michael Hastings, All Movie Guide
 



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