Word: bergmans
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Dates: during 1960-1969
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Sadder still, The Visit suffers from heroic miscasting. As the implacable billionairess and her victim, Ingrid Bergman and Anthony Quinn work hard and seriously but to little purpose...
...audience never really believes that the robust Quinn is an aging, frightened, sycophantic shopkeeper, or that Ingrid Bergman could be so cruel. She is more martyr than Medea, and thus the film's climax-appropriately altered -turns its grand vindictive triumph into a puny game...
...These Women, for all its faults, may well stand as a milestone in the career of Sweden's Ingmar Bergman. It is his first film in color. It is lavish in decor. Though it fails miserably, it is the work of a man who falls flat on his face with impressive aplomb. Behind a transparent disguise as a knockabout farce, it is Bergman's personal indictment of his own critics and public...
...black-veiled mistresses and his wife. Flashbacks detail the end of the great man's life in a series of slapstick sketches played against the ricky-tick accompaniment of Yes! We Have No Bananas. In the sprawling Villa Tremolo, where he keeps his women (among them such Bergman favorites as Eva Dahlbeck, Bibi Andersson and Harriet Andersson), Maestro Felix is heard but seldom seen. The women are the issue, for the artist's playthings, like his public, adore him, scorn him, help him, hinder him, pay him all the tributes that mediocrity pays to genius-and when...
...Bergman's primary target is the foppish critic (Jarl Kulle) who sniffs out the "personal details" of Felix's life, even appropriates one of his mistresses. He composes critical jargon so dense that he himself cannot penetrate it ("What the hell do I mean by that?"), writes atrocious music, and finally wheedles Felix into playing it. Once compromised, the cellist collapses, corporeally and artistically kaput...