Word: bergmans
(lookup in dictionary)
(lookup stats)
Dates: all
Sort By: most recent first
(reverse)
MATHER HOUSE DINING HALL, Bergman's The Touch...
Cries and Whispers. Bergman's latest, filmed with a crimson colored Gothic expressionism reminiscent of Edvard Munch. Set in a turn of the century manor house, two sisters (Liv Ullmann and Ingrid Thulin) along with a peasant servant (Kari Sylwun) attend their dying sister (Harriet Andersson). Bergman uses the women schematically -- the Woman as Other -- to play out his 'nothingness' theme: the ultimate isolation of every human being, the tissue of lies that passes for communication between men, the meaningless of extra-human faith, the nothingness at the heart of it. Central...
When Lauren Hutton started displaying herself for pay seven years ago, the ultimate fashion model was Veruschka, who was as tall as a basketball player, thin as an eyebrow pencil and mysterious as an Ingmar Bergman heroine. By those standards Hutton seemed to be in the wrong game. She is only 5 ft. 7½ in.-slightly below average for a mannequin. Worse, by her own rather exaggerated reckoning, she has a "lopsided face, crossed eyes, a bumpy nose, and a Huckleberry Finn gap between my front teeth." When Photographer Richard Avedon first saw her, he wrote...
...discontent and makes his way back to the one wise person he has met, a man who poles a raft back and forth across a river. Siddhartha has learned, as it were, to flow with the current. Cinematographer Sven Nykvist, who has lent visual majesty to all of Ingmar Bergman's recent work, must have realized early the folly of taking all this didactic mysticism seriously. This, at least, would explain why every image is bathed in the dreamy light of a tour ad for Air India...
Cries and Whispers. Bergman's latest, filmed with a crimson colored Gothic expressionism reminiscent of Edvard Munch. Set in a turn of the century manor house, two sisters (Liv Ullmann and Ingrid Thulin) along with a peasant servant (Kari Sylwun) attend their dying sister (Harriet Andersson). Bergman uses the women schematically--the Woman as Other--to play out his 'nothingness' theme: the ultimate isolation of every human being, the tissue of lies that passes for communication between men, the meaningless of extra-human faith, the nothingness at the heart of it. Harvard Square...