Word: nykvist
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...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...
...concurrent brutality of nameless authority and unceasing Arctic frost define Ivan's world. Sven Nykvist, Ingmar Bergman's cameraman, has filled Siberia with beautiful winter horizons of shining white snow, deep blue sky, and soft yellow prison search lights. The harshness of the sub-zero temperatures seem more like the sting in the air of a winter carnival. The beautiful landscapes are totally inappropriate. Wrede's depiction of the guards may be more accurate, but everything is so beautiful one can hardly be bothered to notice them...
...does occasionally convey a tragic sense of life discarded by politics: in the high, empty gossip of the Muscovite prisoners; in the pathetic scramble for a few shreds of tobacco; in the epic wasteland of ice and snow. More illuminating than either the performances or the screenplay is Sven Nykvist's Arctic photography, shot in the glacial reaches of Norway. Long a cinematographer for Ingmar Bergman, Nykvist can achieve a tactile sense of dread; his expanses of snow are more than weather: they seem vast pages upon which no one dares to write...