[center]The Faith Trilogy [/center] Swedish director, Ingmar Bergman unleashed his first of three films in 1961 that would later be recognized as ?The Trilogy?. The trilogy consists of Through A Glass Darkly (1961), Winter Light (1962), and The Silence (1963). After publishing the screenplays for all three pictures
in 1963 under one volume as En filmtrilogi (A Film Trilogy), Bergman stated his reason for doing so because they all deal with reduction. Through A Glass Darkly ? conquered certainty. Winter Light ? penetrated certainty. The Silence ? God?s silence ? the negative imprint. And for the past forty years critics and fans? reactions have been influenced by this rationale. It wasn?t until the 90s when Bergman collaborated with, film critic and friend, Lasse Bergstrom to review all his pictures, something he tries to avoid, that his opinion of the trilogy severely differed. His thoughts: ?Today I feel that the ?trilogy? has neither rhyme nor reason. It was a Schnaps-Idee, as the Bavarians say, meaning that it?s an idea found at the bottom of a glass of alcohol, not always holding up when examined in the sober light of day.? Despite the director?s late skepticism, critics and film lovers will always regard the three pictures as some of Bergman?s most challenging, ascetic, and insightful work yet. The Criterion DVD release is, as always, the finest available. All three films have received new high-definition digital transfers with restored sound and image. English subtitles and audio tracks, U.S. trailers, a poster gallery, video discussions with Bergman biographer Peter Cowie, and a two and a half hour documentary entitled Ingmar Bergman Makes A Movie are all wonderful features in this set. [center][/center] [center]Through A Glass Darkly [/center] Suffering from severe mental illness, Karin has just been released from a psychiatric hospital. She vacations for a summer on an island with her family to help speed up her recovery, but they can't offer the support that she needs. Her father, David, is a clinical and detached writer; her husband, Martin, is a doctor unable to assist her illness; and her brother, Minus, is sexually coming of age and dealing with his own emotional problems. Karin's condition worsens and she thinks a spider is God. [center][/center] Through A Glass Darkly is Ingmar Bergman?s 1961 Academy Award winning picture. The film was nominated for two Oscars, ?Best Writing? and ?Best Foreign Language Film?. The feature won the latter and marked the second year in a row that one of Bergman?s pictures was awarded in the category. Critics and fans of Bergman?s generally regard Through A Glass Darkly as the first installment in his ?Faith Trilogy?, which later concludes with Winter Light and The Silence. The title of the film refers to a phrase that first appeared in the writings of Apostle Paul. It means to have an obscure or imperfect vision of reality. The picture signifies Bergman?s transition from his expressionism of the fifties to a series of chamber dramas in the early sixties. And the concept works to Bergman?s advantage miraculously. We are able to experience a more intimate relationship with the characters and almost get inside their world. Bergman makes us feel secure in experiencing these characters lives, but he also develops an unnerving tone that slowly builds and eventually explodes. And by the film?s end we are able to decipher Bergman?s intentions. He tells us, in the sign of Karin?s spider, that the pious consolations of the past no longer suffice in the era we live in, but if we are able to reconcile and love one another we will understand God?s being. Bergman?s direction is outstanding as usual. After being spellbound by Sven Nykvist?s exterior cinematography in The Virgin Spring, Bergman was adamant on his involvement in Through A Glass Darkly and most of his pictures thereafter. Bergman had a notorious falling out with his previous cinematographer, Gunner Fischer, around the time. While both are incredible, many consider Nykvist to be the master of natural lighting while Fischer is such with artificial. Anyhow, Nykvist?s stark exterior shots, such as the inability to distinguish sunrise from sunset, really encapsulates the meaning of the film?s title. I was a little taken aback by several of the performances in the picture, most notably Harriet Andersson. It is unbelievable how she can go from such radical emotions instantly. I would have to say she gives one of the finest female performances I have seen yet in any Bergman film. Lars Passgard is impressive as young Minus as well. And of course Bergman regulars, Gunnar Bjornstrand and Max von Sydow put in noteworthy portrayals that look effortless. The use of Bach?s ?Suite No. 2 in D Minor? is brilliant too and really generates a very tender yet melancholy feel. Overall, Through A Glass Darkly is an absorbing family drama that thrives on its austere cinematography, standout performers, and pensive meanings. [center][/center] [center]Winter Light [/center] This drama is set within a three-hour period on a Sunday afternoon in November, and begins when the local pastor, Tomas Ericsson, is finishing his sermon. Marta is a plain-looking schoolteacher who has long been in love with the pastor. Jonas is anxiety-ridden over the nuclear power of the Communist Chinese, but Pastor Ericsson cannot help him -- his own religious dilemma is overpowering. As Ericsson struggles with his demons and faces Marta's unwanted (and to him, repugnant) romantic attentions, some hints of the qualities of God begin to surface. [center][/center] Winter Light is a 1962 Ingmar Bergman film that is usually held as the second chapter in his ?Trilogy of Faith?, preceded by Through A Glass Darkly and followed by The Silence. The Swedish title, Nattvardsgasterna, translates as ?The Communicants?. It is a chamber play pursuing a group of people that attend a rural Swedish church, their religion and communication, or lack of. The idea came about after Bergman learned of a parishioner whom committed suicide in spite of the aid of a pastor. Albeit it is ultimately an optimistic film, many have branded Winter Light as Bergman at his bleakest and most challenging, and I agree to some extent. Although Winter Light must be seen in the proper mood, when it is there are few dramas that are as remorseless in their pursuit of the audiences? absolute focus and response. The picture forms immense themes of passion, spirituality, and connection. And Bergman forces us to realize that despite the inescapable pessimism that life brings, the coldest and darkest days, God?s existence or just hope can be seen through. Bergman seriously experimented with the appearance of Winter Light, but ultimately the bare, grave, and dreary visuals exceedingly embody the film?s themes rightly. Winter Light has a ruthlessly gritty and raw feel that you cannot find anywhere; the glossy Bergman of the fifties is nowhere present. The performances are nothing less than superb. Both Gunnar Bjornstrand and Ingrid Thulin give two of the greatest performances I have seen from either. Bjornstrand was sincerely sick during the shooting of the picture, and Bergman urged Bjornstrand to use his illness to the character?s benefit. The result is a truly unforgettable character. Ingrid Thulin, who can be an extremely attractive woman, is made very unadorned and withered looking. Her close-up while reading the letter is brilliant, claustrophobic, and merciless. Overall, Winter Light is stark examination of subjects that concern us all. [center][/center] [center]The Silence [/center] Ester is a translator and intellectual who is traveling back to Sweden on a train with her younger sister Anna and Anna's son Johan. They stop in the town of Timuku and check into an old hotel in a foreign land where the language cannot be understood by the three travelers. Ester, who suffers from a terminal lung disease, is very protective towards Anna; but Anna resents being tied down by her sickly sister, and she leaves the hotel room, picking up a waiter in a nearby café returning to the hotel room, Anna tells Ester about her sexual encounter with the waiter, and Ester becomes sexually aroused. Anna leaves for another room in the hotel to continue making love with the waiter. Johan helps Ester track Anna down Anna, and Anna and the waiter proceed to make love a third time. This provokes a violent and biter argument between the two sisters. [center][/center] The Silence, Ingmar Bergman?s finishing piece in ?The Faith Trilogy?, has remained the director?s most controversial and popular film hitherto, at least as far as admissions are concerned. Many may not be aware of the fact that the picture was dispatched to the rating bureau just weeks after guidelines had been slightly liberalized, the results were no cuts made to the film whatsoever. Tame by today?s standards, the picture was fiercely debated in its time for fairly blatant depictions of masturbation, lesbianism, and incest. Originally titled God?s Silence, The Silence acts as Bergman?s conversion from theological matters to psychological. By this closing part in his trilogy Bergman has exorcised his religious baggage he struggled with throughout his earlier pictures. The film itself is an arresting study of isolation, affection, and neurotic yearnings. Bergman renders an emphasis on the necessity and impossibility of human compassion in a Godless/hopeless world. Bergman?s direction continues to overwhelm. The dismal train ride in the opening scenes, entrancing tracking shots in the hotel, and flawless lighting make it feel as if the film unfolds like a haunting melody. Both Ingrid Thulin and Gunnel Lindblom offer subtle yet unforgettable portrayals. Seeing as Bergman intends for both to be a part of one being, Thulin (The Intellectual) while Gunnel (The Sensuous), they are able foil off each other remarkably well. Bergman is known for not using child actors frequently, but Jorgen Lindstrom conveys the inquisitive Johan admirably. Seeing from Johan?s perspective is a stroke of genius on Bergman?s part as well. Overall, The Silence is easily the most ambiguous and weak, as far as the characters are considered, in Bergman?s trilogy, but it is just as severe and skillful in exposing its themes. [center][/center]
July 12, 2006
