Höstsonaten (Autumn Sonata) Reviews

  • Aug 24, 2019

    Too wordy and too depressing to watch. A steady diet of this depresses the watcher. A better script would break up the melancholy with something positive. Surely, something positive exists in these women's lives. Throw it in to flesh out their characters. They don't need to talk about everything. For that, we can go back to radio.

    Too wordy and too depressing to watch. A steady diet of this depresses the watcher. A better script would break up the melancholy with something positive. Surely, something positive exists in these women's lives. Throw it in to flesh out their characters. They don't need to talk about everything. For that, we can go back to radio.

  • Feb 27, 2019

    Classic talky, psychological, and theatrical Bergman.

    Classic talky, psychological, and theatrical Bergman.

  • Dec 21, 2018

    I admit that I was dreading Autumn Sonata because my experience with Ingmar Bergman has not been good. This movie does have some of the pacing issues that I struggle with in other Bergman films. However, one of the advantages I see in Autumn Sonata is that it doesn’t revel in silence. Instead people will talk to themselves or even directly to camera in order to keep you invested. I appreciated that, and I never got bored with Autumn Sonata. I have to give a lot of credit to remarkable performances from Ingrid Bergman and Liv Ullman. The movie would be almost unwatchable for me with lesser actresses. This is a style of movie I feel like I should despise, because I always hate when there is nothing but bickering for hours, but this was something different. It was a fracturing of a relationship between mother-and-daughter, it was a revelation of past pains, and it was devastating to watch. Every moment of the climactic scene in this film was heart-wrenching and powerful. I was enthralled and could not look away for even a moment. It didn’t make Autumn Sonata into something that I loved, but it was a scene that I will never forget. This is a powerful film, and I enjoyed it more than I ever would have expected considering how many aspects of it I thought I would hate.

    I admit that I was dreading Autumn Sonata because my experience with Ingmar Bergman has not been good. This movie does have some of the pacing issues that I struggle with in other Bergman films. However, one of the advantages I see in Autumn Sonata is that it doesn’t revel in silence. Instead people will talk to themselves or even directly to camera in order to keep you invested. I appreciated that, and I never got bored with Autumn Sonata. I have to give a lot of credit to remarkable performances from Ingrid Bergman and Liv Ullman. The movie would be almost unwatchable for me with lesser actresses. This is a style of movie I feel like I should despise, because I always hate when there is nothing but bickering for hours, but this was something different. It was a fracturing of a relationship between mother-and-daughter, it was a revelation of past pains, and it was devastating to watch. Every moment of the climactic scene in this film was heart-wrenching and powerful. I was enthralled and could not look away for even a moment. It didn’t make Autumn Sonata into something that I loved, but it was a scene that I will never forget. This is a powerful film, and I enjoyed it more than I ever would have expected considering how many aspects of it I thought I would hate.

  • Jun 15, 2017

    If one woman is naturally rival to another, what secretly and mutually desire mothers and daughters? "Autumn Sonata" (1978), was the last film made by Ingmar Bergman for the cinema, which happened after this were videos for the TV. However, in the last film is not sketched any nostalgia, on the contrary, it is a reunion there are several characteristics that marked the famous Swedish director. Such as his strong relationship with the theater, with the actors, the use of symbols and metaphors, the simplicity of his locations (which he turns into a great advantage), the psychological character in formation and human relations, striking and challenging women , The expressiveness of a face in its close's and big close's and how much it speaks or even shouts moments of silence, moments when not verbalizing suggests so many things. As in the scene where Eva (Liv Ullman) plays a few notes on the piano for her mother, Charlotte (Ingrid Bergman), a magisterial and anthological moment, in the force and expressiveness of two actresses who say nothing on the scene but suggest a universe Of rivalries, misunderstandings and anguish in a (non) relation of mother and daughter. Autumn Sonata "is a tragic burden of human emotion, and is mostly a drama of confessions between two women, who dialogue with each other, which ends up generating a certain monotonous production noise, especially by the subtle clash of the Seem to dominate much of the film, which may have been elaborated in an attempt to generate a frenzy in the audience for the climax, which is not necessary or even does not work, because in the invitation letter written by Eva and In the opening monologue performed by Eva's husband, it is already clear that there, it will be a place to settle accounts. In addition to its musical allusion, the film's title keeps track of another central point: the idea of ?? seasons and cycles. It is clear the reference of this change of seasons in the photograph of Sven Nykvist who collaborates with his pale and washed palette and without great dependences of the artificial light, lamps and candles, call attention to the cold of the winter. However, in what seems to be a contradiction, many of Nykvist's scenes are garlands with flowers. They appear in dozens of scenes. Normally associated with spring, the presence of flowers is a clear reminder of the cyclical nature of life and our relationships with others. The cold will pass, suggest the flowers, we only have to endure this during the winter. Filled with distressing emotion and agonizing eyesight, "Autumn Sonata" offers a methodically potent examination of the pain we choose to keep inside, and the scars that remain with us as a result. Like most Bergman films, the image is replete with existential questions and gloomy reflections, deeply investigating the mysteries of the challenges inherent in life, and depending on the interpretation, the ending may offer some level of optimism and catharsis, the film's elegiac mood And almost impossible confessions of hating and indifference remain irrevocably haunting. Another feature that Bergman has always been able to use, was his complete understanding that in the end, a film ends up always being the actors, they are the face and the memory of the film and they have the capacity to generate reciprocities with the public. So, Bergman is undoubtedly the director, but in the end, are Liv Ullman, Ingrid Bergman and Lena Nyman who play the Sonata.

    If one woman is naturally rival to another, what secretly and mutually desire mothers and daughters? "Autumn Sonata" (1978), was the last film made by Ingmar Bergman for the cinema, which happened after this were videos for the TV. However, in the last film is not sketched any nostalgia, on the contrary, it is a reunion there are several characteristics that marked the famous Swedish director. Such as his strong relationship with the theater, with the actors, the use of symbols and metaphors, the simplicity of his locations (which he turns into a great advantage), the psychological character in formation and human relations, striking and challenging women , The expressiveness of a face in its close's and big close's and how much it speaks or even shouts moments of silence, moments when not verbalizing suggests so many things. As in the scene where Eva (Liv Ullman) plays a few notes on the piano for her mother, Charlotte (Ingrid Bergman), a magisterial and anthological moment, in the force and expressiveness of two actresses who say nothing on the scene but suggest a universe Of rivalries, misunderstandings and anguish in a (non) relation of mother and daughter. Autumn Sonata "is a tragic burden of human emotion, and is mostly a drama of confessions between two women, who dialogue with each other, which ends up generating a certain monotonous production noise, especially by the subtle clash of the Seem to dominate much of the film, which may have been elaborated in an attempt to generate a frenzy in the audience for the climax, which is not necessary or even does not work, because in the invitation letter written by Eva and In the opening monologue performed by Eva's husband, it is already clear that there, it will be a place to settle accounts. In addition to its musical allusion, the film's title keeps track of another central point: the idea of ?? seasons and cycles. It is clear the reference of this change of seasons in the photograph of Sven Nykvist who collaborates with his pale and washed palette and without great dependences of the artificial light, lamps and candles, call attention to the cold of the winter. However, in what seems to be a contradiction, many of Nykvist's scenes are garlands with flowers. They appear in dozens of scenes. Normally associated with spring, the presence of flowers is a clear reminder of the cyclical nature of life and our relationships with others. The cold will pass, suggest the flowers, we only have to endure this during the winter. Filled with distressing emotion and agonizing eyesight, "Autumn Sonata" offers a methodically potent examination of the pain we choose to keep inside, and the scars that remain with us as a result. Like most Bergman films, the image is replete with existential questions and gloomy reflections, deeply investigating the mysteries of the challenges inherent in life, and depending on the interpretation, the ending may offer some level of optimism and catharsis, the film's elegiac mood And almost impossible confessions of hating and indifference remain irrevocably haunting. Another feature that Bergman has always been able to use, was his complete understanding that in the end, a film ends up always being the actors, they are the face and the memory of the film and they have the capacity to generate reciprocities with the public. So, Bergman is undoubtedly the director, but in the end, are Liv Ullman, Ingrid Bergman and Lena Nyman who play the Sonata.

  • Apr 14, 2017

    Autumn Sonata is one of the most moving films I've ever seen.

    Autumn Sonata is one of the most moving films I've ever seen.

  • Jan 09, 2017

    The examination of human connection exists in almost every Ingmar Bergman movie but perhaps none so raw as in Autumn Sonata, a painfully realistic, brutally effective, emotional gut punch that features some of the director's best dialogues.

    The examination of human connection exists in almost every Ingmar Bergman movie but perhaps none so raw as in Autumn Sonata, a painfully realistic, brutally effective, emotional gut punch that features some of the director's best dialogues.

  • Nov 26, 2016

    A harrowing examination of a mother-daughter relationship

    A harrowing examination of a mother-daughter relationship

  • Jun 26, 2016

    Excellent acting and dialogue heavy- almost to a fault. Worth a watch but repeat watching is unlikely.

    Excellent acting and dialogue heavy- almost to a fault. Worth a watch but repeat watching is unlikely.

  • Jun 17, 2016

    Sensitive, honest, piercing and powerful, Ingmar Bergman transforms family conflicts into pure art while Ingrid Bergman and Liv Ullmann deliver larger than life performances as mother and daughter digging up the past.

    Sensitive, honest, piercing and powerful, Ingmar Bergman transforms family conflicts into pure art while Ingrid Bergman and Liv Ullmann deliver larger than life performances as mother and daughter digging up the past.

  • Jan 18, 2016

    A heavy, heavy drama, rich with sadness and reckoning.

    A heavy, heavy drama, rich with sadness and reckoning.