Word: karin
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...Karin, on the other hand, cries out silently. Her soul is mortified. She has questioned the meanings behind her surroundings and come up with negative answers, and this has--perhaps temporarily--obstructed her compassion. After Agnes's death, she recalls a dinner with her husband. Enduring cold, light-weight badinage, Karin looks at him with withering contempt; when the contempt goes out of control, so does she. A glass breaks, and her husband suggests they go to bed. Karin stays at the table, fingers a broken shard, and repeats to herself, "It's all a tissue of lies." When Anna...
...film tells the actions of three sisters and a maid who wait through the autumn in a country mansion for one of the sisters to die. Agnes (Harriet Andersson) has cancer; her older sister Karin (Ingrid Thulin), the smartest and severest of the group, and her other sister, Maria (Liv Ullmann) an overripe coquette, have temporarily left their husbands--a diplomat and a businessman--to nurse her at their childhood home. The peasant girl, Anna (Kari Sylwa), is a servant who has been with the family for years and is devoted to Agnes...
...FINAL first person episode is not a memory but a dream. Anna, who has been Agnes's most constant companion, hears weeping in the night; at first, it seems a baby's howl, but her own child has long been dead. She runs to Agnes's room; outside, Karin and Maria stand silent and motionless. She goes to Agnes, and sees a tear running down the corpse's face. Agnes asks Anna for Karin, but when Karin enters the older sister rejects the younger: "I want no part of your death...If I loved you it might be different...
Cries and Whispers concerns-again very simply-the desperate imperative of achieving grace. Maria reaches out toward Karin, Anna toward Agnes, and Agnes, through the intensity of her suffering, toward peace and toward God. Death, at least as dreamed by Anna, affords no real release for Agnes. "I can't sleep, I can't leave," she murmurs from her bed, quite unmoving but for a tear that runs down her cheek from under her closed eye. She tries to draw her sisters to her, but it is only Anna who responds, only Anna in her dream who offers...
...ought to have been more, to serve both as balance and counterpoint. There should certainly have been more about the men in the film, who are shadows and ciphers. The single most shattering scene in the film becomes, for this reason, unnecessarily oblique. Preparing herself for bed one evening, Karin takes a shard of glass and lacerates her genitals. Raising the frail white silk of her nightgown toward her waist, showing her husband the blood running down her thighs, she grins in triumph and with a hint of perverse satisfaction. Because we know so little of her husband, though, Karin...