Word: ullman
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...year is 1971, and the scene is Bergman's favorite symbol: an island off the coast. There, a violinist named Jan Rosenberg (Max von Sydow) and his wife Eva (Liv Ullman) cower in their farmhouse, waiting out a civil war that rages on the mainland. It is a truism that in many childless marriages one of the couple assumes the role of the baby. In the Rosenbergs' case, it is Jan, cosseted and petted by Eva during his incessant tantrums and irrational fears. Infinitely gentle, infinitely suffering, afflicted with a bad heart and a sick psyche, Jan lives...
...speak of Bergman's players merely as actors. People like Von Sydow and Björnstrand have been with him for over a decade. What the Moscow Art Theater was to Stanislavsky, these performers are to Bergman-ensemble members who function like fingers on a hand. Liv Ullman, newest member of the troupe, is, astonishingly, the best, portraying a whole range of feminine response, from molten eroticism to glacial hate. At the end of his life, Freud wrote: "The great question, which I have not been able to answer despite my 30 years of research into the feminine soul...
Even from outside, you can enjoy his characters; deify gaunt Max von Sydow, maintain a healthy lust for Ingrid Thulin, Bibi Anderson, and full-lipped Liv Ullman; be terrified by Hour of the Wolf and Persona, stilled by The Silence, and dragged naked through the fourteenth century in The Seventh Seal. But the distance remains -- the first six rows at the Brattle become an impassable Nordic wasteland. As Stanley Kauffmann said of The Silence, "The film is Bergman musing, and we have intruded...
...Leverett game, Carl Ullman snared a pass from quarterback Pete Karageannes for a 20-yard touchdown the first time the Bunnies got the ball. Later in the half, Karageannes tallied himself on a 20-yard run to complete the scoring...
...tragic isolation from :he mainland of humanity. Though he has glaring faults as a scenarist, Director Bergman is supreme in handling us troupe; the actors, like Sven Nykvist's phosphorescent photography can ender reality and surreality without missing a heartbeat. Von Sydow is gothically brilliant as the madman; Ullman's ragedienne reinforces her position-already secured by Persona-as one of Scandmavia's major actresses. If in the nd, the Hour of the Wolf suffers from simplistic psychiatry and some less than fresh observations of man's fate, it remains worthwhile simply because Ingar Bergman...