Word: bergmans
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Dates: during 1970-1979
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Screenplay by MEL BROOKS, NORMAN STEINBERG, ANDREW BERGMAN, RICHARD PRYOR,ALAN UGER...
Casablanca (1942). Bogart and Bergman. Play it again. Ch. 56, 9 p.m. B/W, 2 1/2 hours...
...accessibility. But reversing the process is more difficult, because some means must be found to compensate for the forfeit of all the film techniques. The Loeb Persona doesn't try to make up for these lost ingredients, and is content to deal only with those bare bones of Bergman's film which did not depend on his camera. The hallmarks of the original Persona are gone without trace--Bergman's loving concentration on the faces of the two woman, his split-screen sequences, his reminders that Persona is a film and not reality, conveyed by shots which include his cameras...
Because these cinematic effects were central to Bergman's purpose, any stage adaptation is bound to convey only part of his message. When Elisabeth breaks into tears after looking at a picture of a Vietnamese monk setting himself afire, not everyone in the theatre can be sure just what she sees; when her husband arrives, all the ambiguity present in the encounter in the movie is lost...
...Loeb Persona can be best appreciated by those who have not seen the movie, and who can thus enjoy it on its own merits; those who do know the film will be left unsatisfied and perplexed, though not unsympathetic. Even when the director is Bergman, a man who has been accused of making films for people who think they ought to be reading books instead of going to the movies, what appears on screen is not easily transferred to the stage. Despite the formidable talents and energies of the Loeb production, everything that made Persona a great film instead...