Word: nykvist
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Dates: during 1970-1979
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...decrees will be his "love teacher." Finally he grows 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...
...make up life and the cries which punctuate it lead nowhere; the daying woman finds joy before her death because her family is near, but this lyrical glimmer is not a way out for those still alive. Bergman's most recent film, in color, with brilliant cinematography by Sven Nykvist. 1972. The Naked Night. During a single day's action, we see the owner of an impoverished travelling circus and his mistress, the bare-back rider, each trying to betray the other. The film (whose original Swedish title means "The Clown's Evening") is Bergman's first masterpiece. Many people...
...usual, Bergman includes references to his own previous works--e.g., Maria and her husband plan to visit the Egermans, the eminently bourgeois family of Passion of Anna. Also to be expected are the wonderful Sven Nykvist photography, the clever color design (red for lust and guilt, white for innocence, black for death) and the impeccable performances. But Bergman's characteristic flaws are present as well. Occasionally, a scene becomes annoyingly stylized: Karin looks at that piece of glass for what seems like a full five minutes, and the talk in which she and Maria finally commit themselves is smothered...
...even admits that there are influences from Godard. In the Persona essay, even more than in the other three, Simon's presentation is helped along by his editors' useful choice of stills, many in sequences, which clarify important scenes and give a feeling for the marvelous texture of Sven Nykvist's cinematography...
...howl of desperation, at times unberably intense, each brutal. Although the dramatic, tension are unremittingly psychological, the film is also in effect a stab at the heart of bourgeons society through dissection of its women. The entire Bergman crew is in fine form Ellman, Thulin, photographer Sven Nykvist, most of all Harriett Anderson as the dying sister at the center of the film's family...