Word: allwine
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Dates: during 1983-1983
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Though events pour by in an extravagant rush, the plot in fact centers on Alexander (Bertil Guve) and his sister Fanny (Pernilla Allwin), as they adjust to their father's death and their mother's quick remarriage to a tyrannical bishop Guve's huge brown eyes watch everything silently, building a mask to ward off the collapse of his world. Through Alexander we watch the movements of the rest of his family, particularly his grandmother (Guna Waugrea), who embodies the wisdom and vision of a true matriarch. An aging actress, she controls her family and tries to face...
...Fanny and Alexander in the end becomes a portrayal of adolescence--a time when a ragged teddy bear can no longer offer any solace. Fanny's small yet important role emphasizes the portrait's subtlety; on the surface the film could have been called simply Alexander, but blue-eyed Allwin as Fanny blossoms into a young adult as well by watching her brother's experiences. But Fanny is more of a silent observer. Alexander records the journey; and his recording reinforces the events themselves in affirming the importance and the reality of the imagination...
...candles, candles everywhere, it invites the children who live in it to become adventurers into its secrets. The mansion broods over a quiet Swedish town, in the winter of 1907, and it is the place where ten-year-old Alexander (Bertil Guve) and his younger sister Fanny (Pernilla Allwin) and their parents and grandmother, the Ekdahls, reside. But with a leap of film fancy it becomes the house that Bergman built: an edifice constructed of 40 films in nearly 40 years, and filled with ghosts and demons, strong women and tortured men, knights playing chess with Death, and human souls...
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