Related film reviews of Cries and Whispers

Cries and Whispers is considered Bergman's greatest film (some others consider it to be The Seventh Seal, Persona or Fanny and Alexander). One of the most thought-provoking works in film history vividly expresses the pain, selfishness and helplessness deep in human nature. "Cries and Whispers" was filmed in 1971. At this time, Bergman had denied the existence of God and shifted from questioning God to questioning the nature of human beings. Bergman used his consistent style of pushing movie characters to extremes, such as the self-mutilation and hysterical shouting of a woman in the film, and pushed the plot to a climax through this extreme. The work uses the charm of background music to mobilize emotions, and provides a footnote for the interpretation of the characters' complex relationships and spiritual monologues. In the film, there is a scene of seemingly reconciliation between Maria and Karin. Bergman cleverly avoids their "whispering" here (this scene is not shown in dialogue), but replaces it with a quiet sound in the darkness. , the tearful Bach Cello Suite "Sarabande".

"Cries and Whispers" comes from Swedish music critic Yngve Flycht's review of Mozart's 21st Piano Concerto. Bergman said that this review "sounds like a whisper and a whisper" Shout”. Each character in "Cries and Whispers" is trapped in a complex emotional web. "Cries" are related to and contrasted with emotional states such as pain, anger, powerlessness, loneliness, guilt, and suffocation. The "whisper" is associated with emotions of tenderness, tolerance, love and compassion.

The performances of the three Bergman queen actresses are all wonderful, the photography is extremely beautiful, and the use of color is extremely sophisticated. Each of the four women and their personalities portrayed in "Cries and Whispers" have been uniquely outlined. Each of the four women has subjective flashbacks of a dreamy nature to allow the audience to further understand the characters. Emotion and motivation. Each section of the film begins with a close-up of a woman's expressionless face. The close-up of the protagonist's face coldly conveys the barrier between body and soul between people in a unique way. Bergman once said: "All my films can be considered in black and white, with the exception of "Cries and Whispers". In the script, I said that I always believed that red is the color of the soul. When I was still As a child, I imagined the soul as a mysterious dragon, as green as smoke, soaring in the sky like a huge winged monster, half bird, half fish. But inside the dragon, Everything is red.”

Since the days of Bergman’s black and white films, he has strictly controlled color, and in this film, he has taken the use of color to the extreme—— Red is everywhere in the film: carpets, curtains, bedspreads, ceilings, and glasses of wine, bathing the film in a blood-red shadow. The color red has definite metaphorical connotations for Bergman and appears throughout the film to support his narrative. In this movie, color and image seem to be much more important than dialogue. The color red dominates almost every scene that takes place in the mansion, and as Bergman himself said, it represents the inner world of the soul and is most likely also used as an allegory for the inner world of the womb.

Despite the grim subject matter, Bergman's film captures images of dramatic, eye-catching beauty thanks to his collaboration with the brilliant cinematographer Svannykvist. Cries and Whispers is a visually stunning film that is deeply concerned with its protagonist's emotional and physical pain. It is also a film that is highly praised and admired, and is one of the greatest films in Bergman's versatile career. During screenings of "Cries and Whispers," someone exclaimed: "How does Ingmar Bergman use these actors to express such strong emotions?" One is Liv Ullmann, one of Norway's greatest actresses and a symbol of the art film goddess of the 1960s and 1970s.

Liv Ullman was born in Tokyo. She spent her childhood in Japan, Canada and New York. She returned to Norway and joined a local theater troupe after completing high school. A few years later, she made a career in Norwegian film and stage Outstanding performance. Starting with "Persona" in 1966, she began a long-term collaboration with Ingmar Bergman and became a lover. Her film reputation reached its peak in the 1970s. She was twice nominated for the Academy Award for Best Actress for "The Great Migration" and "Face to Face", and went to Hollywood to star in films such as "Lost Horizon" and "Woman." In 1980, she won the Best Actress Award at the 37th Venice Film Festival. The film "Sofie" written and directed in 1993 won an award at the Montreal Film Festival. Infidelity, directed in 2000, was nominated for the Best Picture Award (Palm d'Or) at Cannes, and its script was written by Bergman.