In his not-to-be-missed, detailed interviews to Scandinavian filmmakers/critics Jonas Simas, Torsten Manns and Stig Björkman published in France as "Le Cinéma Selon Bergman" (1973) -- inspired by the Hitchcock/Truffaut/Chabrol interviews, and with material selected from over 50 hours of conversations in the span of 5 years -- Bergman reassesses "Winter..." in affectionate but moderately critical terms. He quotes his wife (as of 1962) Käbi Laretei's comment about it: "Yes, Ingmar, it's a masterpiece, but a boring one!" (or "dreary one", according to another translation).
Not that it is really boring, at least not for IB's fans (as myself); and not that it's REALLY a masterpiece. It IS one of his driest, grimmest, most depressing films along with "Shame". As usual, there are magnificent scenes: every one Max Von Sydow is in (what an actor -- with barely a single line to speak he builds a very complex character); Åke Fridell's character, who's got the best lines; the argument between Gunnar Björnstrand and Ingrid Thulin at the cottage. Bergman's and Nykvist's visual conception is riveting: you can FEEL the cold of the bleak Swedish winter. However, there are other scenes that seem to drag longer than necessary (even for Bergman), especially the opening church service, and, yes, the letter scene (which is the source of the great letter scene in "Persona"). But I think the main difficulty with "Winter Light" is that Bergman paints his protagonist (Pastor Tomas Ericsson, played by Björnstrand) mercilessly, making it hard for us to make any connection with the selfish bastard, whether you're religious or not. The question of faith -- that should be the important issue here -- is compromised by the incredible level of egotism of Pastor Ericsson; it's hard to believe that man has ever experienced Christian compassion. Bergman despises him and makes us despise him too; I, for one, couldn't manage to feel the smallest degree of sympathy for the man.
In those interviews, Bergman talks about how difficult shooting "Winter Light" was, with Gunnar Björnstrand ill and detesting his role (no wonder!!) and the influence of Bergman's traumatic religious upbringing (his father was a strict Lutheran pastor), which made it hard for him to convey sympathy for Björnstrand's character. The idea for the film came when a bishop of a small-town church told Bergman of his failure in preventing a fisherman in anguish from committing suicide. Bergman also said that Thulin's character was partly based on his second wife, who had serious eczema in her face and hands.
Christian faith has been the subject of superior films by great filmmakers -- Dreyer, Rossellini, Bresson, Buñuel, Pialat, Melville, Pasolini, and, of course, Bergman himself. With "Winter Light", I found myself thinking a lot about Bresson's masterpiece "Diary of a Country Priest". Both "Winter..." and "Diary..." deal with lonely, depressed Christian clergymen who struggle to come to terms with faith-shattering issues within themselves and the ones around them. Both live in small, bleak, grim villages and cannot find solace in people around them, or give them sound advice. Both strive for an evidence of God a signal, a word, an inspiration to help comfort people. Both face the peak of their religious crisis in winter time (no wonder!!) and when faced with suicide (the doctor in "Diary", the fisherman in "Winter..."). But the major difference is that Bresson's priest ultimately finds a way to trust his God, while Bergman's pastor is abandoned by his ("God's silence in an empty church"). And, of course, that Bresson's priest is impossible to dislike whereas Bergman's pastor is a s.o.b. Bergman himself had been very impressed by Bresson's movie, which, in my opinion, is superior and "thicker" than "Winter....", although both display some of the most magnificent b&w cinematography the movies have ever shown (and Bergman talks proudly about the great amount of work it took to reach the right lighting for the film).
The second of the so-called "Silence Trilogy" (it was never planned as such, but you know, it was the trilogy fad -- S.Ray, Antonioni etc), "Winter Light" is, IMHO, the least satisfying of the three, overshadowed by the powerful study in schizophrenia and incest with richly elaborated characters of "Through a Glass Darkly" and the incredibly daring, close-up approach of female sexuality, childhood innocence, war threat and terminal sickness of "The Silence". Anyway, "Winter Light" is film by Ingmar Bergman stratospheres above most mortal filmmakers. My vote: 6 out of 10 (considering it's Bergman!).
Not that it is really boring, at least not for IB's fans (as myself); and not that it's REALLY a masterpiece. It IS one of his driest, grimmest, most depressing films along with "Shame". As usual, there are magnificent scenes: every one Max Von Sydow is in (what an actor -- with barely a single line to speak he builds a very complex character); Åke Fridell's character, who's got the best lines; the argument between Gunnar Björnstrand and Ingrid Thulin at the cottage. Bergman's and Nykvist's visual conception is riveting: you can FEEL the cold of the bleak Swedish winter. However, there are other scenes that seem to drag longer than necessary (even for Bergman), especially the opening church service, and, yes, the letter scene (which is the source of the great letter scene in "Persona"). But I think the main difficulty with "Winter Light" is that Bergman paints his protagonist (Pastor Tomas Ericsson, played by Björnstrand) mercilessly, making it hard for us to make any connection with the selfish bastard, whether you're religious or not. The question of faith -- that should be the important issue here -- is compromised by the incredible level of egotism of Pastor Ericsson; it's hard to believe that man has ever experienced Christian compassion. Bergman despises him and makes us despise him too; I, for one, couldn't manage to feel the smallest degree of sympathy for the man.
In those interviews, Bergman talks about how difficult shooting "Winter Light" was, with Gunnar Björnstrand ill and detesting his role (no wonder!!) and the influence of Bergman's traumatic religious upbringing (his father was a strict Lutheran pastor), which made it hard for him to convey sympathy for Björnstrand's character. The idea for the film came when a bishop of a small-town church told Bergman of his failure in preventing a fisherman in anguish from committing suicide. Bergman also said that Thulin's character was partly based on his second wife, who had serious eczema in her face and hands.
Christian faith has been the subject of superior films by great filmmakers -- Dreyer, Rossellini, Bresson, Buñuel, Pialat, Melville, Pasolini, and, of course, Bergman himself. With "Winter Light", I found myself thinking a lot about Bresson's masterpiece "Diary of a Country Priest". Both "Winter..." and "Diary..." deal with lonely, depressed Christian clergymen who struggle to come to terms with faith-shattering issues within themselves and the ones around them. Both live in small, bleak, grim villages and cannot find solace in people around them, or give them sound advice. Both strive for an evidence of God a signal, a word, an inspiration to help comfort people. Both face the peak of their religious crisis in winter time (no wonder!!) and when faced with suicide (the doctor in "Diary", the fisherman in "Winter..."). But the major difference is that Bresson's priest ultimately finds a way to trust his God, while Bergman's pastor is abandoned by his ("God's silence in an empty church"). And, of course, that Bresson's priest is impossible to dislike whereas Bergman's pastor is a s.o.b. Bergman himself had been very impressed by Bresson's movie, which, in my opinion, is superior and "thicker" than "Winter....", although both display some of the most magnificent b&w cinematography the movies have ever shown (and Bergman talks proudly about the great amount of work it took to reach the right lighting for the film).
The second of the so-called "Silence Trilogy" (it was never planned as such, but you know, it was the trilogy fad -- S.Ray, Antonioni etc), "Winter Light" is, IMHO, the least satisfying of the three, overshadowed by the powerful study in schizophrenia and incest with richly elaborated characters of "Through a Glass Darkly" and the incredibly daring, close-up approach of female sexuality, childhood innocence, war threat and terminal sickness of "The Silence". Anyway, "Winter Light" is film by Ingmar Bergman stratospheres above most mortal filmmakers. My vote: 6 out of 10 (considering it's Bergman!).