The director's most accessible, and perhaps most personal film.
Fanny and Alexander (1982)
Tomatometer
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Reviews Counted:33
Fresh:33
Rotten:0
Average Rating:8.9/10
Runtime: 5 hrs 12 mins
Genre: Foreign Films
Synopsis: Director Ingmar Bergman had intended FANNY AND ALEXANDER to be his final theatrical film and a summing-up of sorts of his entire cinematic career. (It was followed by 1984's AFTER THE REHEARSAL,... Director Ingmar Bergman had intended FANNY AND ALEXANDER to be his final theatrical film and a summing-up of sorts of his entire cinematic career. (It was followed by 1984's AFTER THE REHEARSAL, which was also made for Swedish television and subsequently released theatrically abroad.) FANNY AND ALEXANDER is the story of two children belonging to a wealthy, extensive theatrical family in provincial Sweden in the early years of the 20th century--10-year-old Alexander (Bertil Guve) and his younger sister, Fanny (Pernilla Alwin). When their father dies unexpectedly during a performance and their mother decides to remarry, the children are forced to relocate to the austere (and possibly haunted) home of their stern and rather coldhearted stepfather, Bishop Vergerus (Jan Malmsjö). A means of escape is eventually provided by Isak Jacobi (Erland Josephson), a longtime friend of the Ekdahl family's who seems to possess magical powers. In this somewhat autobiographical movie--which was filmed in the director's hometown of Uppsala--the gifted, precocious Alexander is a stand-in for Bergman himself, who had a problematic relationship with his own father, a strict clergyman. At once festive, spooky, and bawdy--and uncharacteristically life-affirming--FANNY AND ALEXANDER is one of Bergman's most universally appealing and accessible works. [More]
Starring: Pernilla Allwin, Bertil Guve
Starring: Pernilla Allwin, Bertil Guve
Director: Ingmar Bergman
Director: Ingmar Bergman
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Reviews for Fanny and Alexander
Our young protagonist will be obsessed with death and see ghosts everywhere. Never has the prison of childhood seemed so inescapable.
It’s a marvellously engrossing and thought-provoking film, filled with dazzling dramatic set-pieces and witty, knowing allusions to its creator’s artistic conceits and deceits.
Bergman's 1982 career summation and the kind of rich, timeless, cautionless magnum opus we can only receive, like benedictions, from artists who've paid their generation's dues of sweat, risk, tears, and honesty.
Dickensian in its extravagant emotional power - with a hint of Charlotte Brontë - and some Chekhov in its melancholy.
An extraordinary drama about childhood and imagination as a passport out of dread and into mystery.
A big, dark, beautiful, generous family chronicle, which touches on many of the themes from earlier films while introducing something that, in Bergman, might pass for serenity.
[Bergman] glides beyond the mere telling of his story into a kind of hypnotic series of events that have the clarity and fascination of dreams. Rarely have I felt so strongly during a movie that my mind had been shifted into a different kind of reality.
a rich and surprisingly peaceful coda to one of film's most illustrious careers.
Bergman at his most compelling, detailed and witty. An astonishing and deeply rewarding achievement.
A ghost story whose subjects are the living and the dead, magic and imagination and the nature of God.
During its three hours, seasons come and go, friends and relatives gather for funerals, weddings and christenings, and all human life is here.
This premiere of the original cut, running at 312 minutes, leaves room for more than a story of one life.
Sumptuous, haunting, and unusually tender... a nakedly psychological 'in' to [Bergman's] earliest artistic impulses; nothing else in his oeuvre addresses so directly his childhood escapes into fantasy as the by-product of a harsh Lutheran upbringing.
It is very much, and in the best way, an old man's movie, the work of an artist resigned to life's mystery, full of wonder at the passage of time, full of forgiveness for past wrongs, and full of understanding.
Arguably Bergman's most accessible and upbeat work, this childhood fable is magical, personal, and poignant in the way that other masterpieces of the genre are, most notably Truffaut's 400 Blows and Fellini's Amarcord.
Latest News for Fanny and Alexander
July 30, 2007:
Through Bergman's Past, Brightly
With the passing of Ingmar Bergman Monday, the world of cinema lost one of its most unique and important voices. Thus, we at Rotten Tomatoes decided to pick our favorite Bergman... More...
July 30, 2007:
Legendary Director Ingmar Bergman dies at 89
Ingmar Bergman, the "poet with a camera," died in his sleep at his home in Faro, Sweden Monday at the age of 89. The director of such influential films as The Seventh Seal,... More...
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