Like so many superb Bergman films, this movie is strongly theatrical in form - indeed it could be adapted for the stage with minimal revision. Nevertheless, it benefits from the movie form, as it enables so many of us all over the world to see four superb acting performances.
I saw Scenes From a Marriage years ago and it was interesting to see those characters reprised. However, I think this film would be perfectly enjoyable and understandable to a viewer who had not seen Scenes From a Marriage. It might even be a good idea for the "Bergman Newbie" to see Saraband first.
I love the multi-layered ways that music plays an important part in this movie, both plot-wise and symbolically. A Saraband is a slow, mournful dance. The film is basically 10 oral duets, sandwiched between a solo prologue and epilogue. The characters are to some extent represented by their musical taste - Henrik with his glorious Bach organ works (and the Saraband he loves), Johann by the booming Bruckner scherzo he is playing before and after a pivotal conversation with Karin.
The cinematography lacks some of the exceptional qualities of Bergman's earlier work - I suspect that has to do with the TV format and his advancing years - the great man is probably unable to get quite so involved in camera-work these days. But no matter. The script, the acting and the direction are absolutely top class.
87 years old and Bergman's still got what it takes. Can we please all try and persuade him to "Sinatra" (i.e. make several more final appearances?)
I saw Scenes From a Marriage years ago and it was interesting to see those characters reprised. However, I think this film would be perfectly enjoyable and understandable to a viewer who had not seen Scenes From a Marriage. It might even be a good idea for the "Bergman Newbie" to see Saraband first.
I love the multi-layered ways that music plays an important part in this movie, both plot-wise and symbolically. A Saraband is a slow, mournful dance. The film is basically 10 oral duets, sandwiched between a solo prologue and epilogue. The characters are to some extent represented by their musical taste - Henrik with his glorious Bach organ works (and the Saraband he loves), Johann by the booming Bruckner scherzo he is playing before and after a pivotal conversation with Karin.
The cinematography lacks some of the exceptional qualities of Bergman's earlier work - I suspect that has to do with the TV format and his advancing years - the great man is probably unable to get quite so involved in camera-work these days. But no matter. The script, the acting and the direction are absolutely top class.
87 years old and Bergman's still got what it takes. Can we please all try and persuade him to "Sinatra" (i.e. make several more final appearances?)