A mesmerizing deconstruction of the brute nature of love.
Faithless (2001)
Tomatometer
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Reviews Counted:68
Fresh:58
Rotten:10
Average Rating:7.1/10
Consensus: This brooding, measured look at adultery is ultimately emotionally riveting, thanks to its script and performances.
Rated: R [See Full Rating] for sexual content, some nudity and language
Runtime: 2 hrs 22 mins
Genre: Dramas
Theatrical Release:Jan 26, 2001 Limited
Synopsis:
Directed by Liv Ullmann from a script by Ingmar Bergman and starring Lena Endre and Erland Josephson, FAITHLESS is a story of passion and infidelity based on a real event in Bergman’s past. A...
Directed by Liv Ullmann from a script by Ingmar Bergman and starring Lena Endre and Erland Josephson, FAITHLESS is a story of passion and infidelity based on a real event in Bergman’s past. A sensation at this year’s Cannes Film Festival, where Lena Endre’s bravura lead performance was justly celebrated, the film has also been featured at the Toronto, Telluride, New York and Montreal film festivals. FAITHLESS will have its U.S. theatrical release in late January 2001.
Lyrical, passionate, and enigmatic, FAITHLESS begins with a writer named Bergman (Erland Josephson, who co-starred with Ullmann in Bergman’s 1974 Scenes From a Marriage) summoning his muse in the form of a memory. Marianne (Lena Endre) appears to Bergman as he sits down to write a script about a love affair of long ago. As she discusses ideas for the story with Bergman, she is transformed into the main character of the film that he is now writing.
Marianne Vogler is a successful actress happily married to Markus (Thomas Hanzon), an orchestra conductor much in demand for overseas concerts and devoted to her young daughter Isabelle (Michelle Gylemo). Into this easy equation steps family friend David (Krister Henriksson), a film director notorious for his reckless attitude toward relationships. Marianne’s friendship with David develops into passion, and they yield to temptation, traveling to Paris to indulge in an affair that then continues upon their return to Sweden.
Eventually Markus, who has suspected the affair all along, confronts the faithless couple, his wife and friend, in the very bedroom they have been meeting in. He demands divorce and custody of Isabelle. Marianne begs Markus to let her have Isabelle, but he refuses. What began as a casual affair threatens to destroy a marriage, a friendship, a family, and a man.
Despite the film’s dark themes, Lena Endre triumphs with her radiant performance. Onscreen for most of the film, Endre’s Marianne is a woman whose passion and intelligence makes her choices a story of unforgettable emotional power.
Liv Ullmann’s second film based on a Bergman screenplay (1997’s Private Confessions was the first), FAITHLESS is the latest of many collaborations between Bergman and Ullmann. Ullmann has been featured as an actress in nine of the director’s greatest films including Persona (1966), Scenes From A Marriage (1974), and Autumn Sonata (1978). Filled with references to Bergman’s films and to his life as a man and an artist, FAITHLESS is timeless meditation upon relationships between women, men, art and love.
Starring: Lena Endre, Erland Josephson, Krister Henriksson, Tomas Hanzon
Starring: Lena Endre, Erland Josephson, Krister Henriksson, Tomas Hanzon, Michelle Gylemo, Juni Dahr
Director: Liv Ullmann
Director: Liv Ullmann
Screenwriter: Ingmar Bergman
Composer: Johannes Brahms, Anton Bruckner, Wolfgang Amadeus Mozart
Studio: Samuel Goldwyn Films
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Reviews for Faithless
Rarely do we see a film that measures the full reverberations of adultery, one that grabs us by the hair and makes us face up to our own potential to inflict enduring damage.
Beautiful and honest and, sadly, every second of it feels achingly real.
Another milestone in the long and fruitful collaboration between Liv Ullmann and Ingmar Bergman.
The predictability of the story and the shallowness of the characters is what really destroys the film.
Bergman is nothing if not an artist finely focused on secret narrative weaponry and snowballing decimation, and before you know it, his structural strategy has made it a Kevlar kind of day.
Lena Endre, with her throaty laugh and natural warmth, gives a heartbreaking performance as a woman slowly sapped of her joie de vivre.
It makes us realize, suddenly, and with immense regret, what the rest of contemporary cinema so sorely lacks.
Ullman isn't able to harness the intensity this confessional tale needs.
It shook me to my very core with a riveting and, at times, horrifying portrayal of the effect infidelity can have on a close-knit group of people.
Mr. Josephson's Bergman is an unforgettable portrait of the artist as an old man at once tormented by his past and unable to resist raking over its coals.
Bergman's words, even via translated subtitles, are powerful and uncompromising and seem to sidestep many of the clichés found in your standard tale of infidelity.
A mesmerizing work, exploring the darkest recesses of the human spirit.
The kind of film that the buffs love, but is far too dialogue intensive to attract the more casual filmgoer.
| Tomatometer Percentage | Movie |
|---|---|
| 77% 77% | The Hangover |
| 88% 88% | Inglourious Basterds |
| 66% 66% | Public Enemies |
| 24% 24% | G-Force |
| 44% 44% | Night at the Museum: B… |
| Tomatometer Percentage | Movie |
|---|---|
| 82% 82% | Paranormal Activity |
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