Word: sydow
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...first to aim exclusively below the neck. We had expected "A Film from Ingmar Bergman" on the subject of war to be filled with long dialogues, endless questioning; in our mind's eye we can see a low-key closeup of Liv Ullman or Max von Sydow asking, "Why is this happening to us? Why doesn't it make any sense?" But this is precisely what Bergman avoids. For the first time we can walk out of a film of his with our intellect numb, our body vibrating...
...full-blown nightmare of the mind. The intellect is most horrible of all terrors, because there is no escape from it. Both these films showed people's brains driving them out of their minds. Every detail of time and space was enlarged: in Hour of the Wolf Max von Sydow measures out one minute in the dark and shows us how unbearably long it can be; in Persona Bergman constantly shows us detail of the two women's faces, so that when their personalities fuse we have already noticed an increasing physical likeness...
...SHAME. Ingmar Bergman examines war and the artistic conscience in his 29th film. The visual imagery is brilliantly desolate, and the performances-by Max von Sydow, Gunnar Bjornstrand and Liv Ullman-are orchestrated with precision...
...SHAME. Ingmar Bergman examines war and the artistic conscience in his 29th film. The visual imagery is brilliantly desolate, and the performances-by Max von Sydow, Gunnar Björnstrand and Liv Ullman-are perfectly orchestrated...
...SHAME. Ingmar Bergman's 29th film is a tonal allegory involving a nameless war, a broken marriage and existential doubt. The performances by such Bergman regulars as Max von Sydow and Gunnar Bjornstrand are letter-perfect, but Liv Ullman, newest member of the Bergman company, portrays the spectrum of feminine response with special brilliance...