Technically speaking, this film is very well-made. The acting, cinematography and all the other aspects of this "little" film are excellent. However, it is important to point out that this type of film about people and relationships won't appeal to everyone--particularly those who demand a Hollywood-style film. Also, it is a sequel to director Bergman's ultra-famous SCENES FROM A MARRIAGE. Like this previous film, this movie was originally made for European TV but was later released as a feature film. Finally, while people might naturally expect that the relationship between the two original leads, Marianne and Johan (Liv Ullman and Erland Josephson), after the first portion of the film, the relationship between them seems to be only a starting point and the focus changes almost exclusively to the sick relationship between Josephson's son and grand-daughter. This wasn't BAD, but in a way it was sad because the scenes between Ullman and Josephson were wonderful and I wanted to see more or this--the acting was so real and these quiet moments were very slow but also very moving.
The bulk of the movie involves the sick relationship between Karin (the grand-daughter) and her father, Henrik. Since the death of Henrik's wife, he has placed all of his energy in training Karin to be a concert cellist. Instead of being his daughter, her needs are pretty much irrelevant to Henrik and she is a thing instead of a person. The viewer learns about this when Karin comes to her grandfather's house but finds that his ex-wife is the only one there. Although they have no blood relationship and don't know each other, Karin needs to talk and tells her how frustrating this relationship is with her father. Over the course of the film, however, you learn that this relationship is far more disturbing. Although it is not technically incestuous, the pair sleep in the same bed and late in the film, Henrik kisses Karin full on the mouth! Also, the emotional blackmail that he uses to control her is disturbing. This is a super-interesting film from a psychological standpoint though I am sure many in the audience will feel "creeped out" over it.
Sure, there's much more to this very talky movie than just this relationship. The interaction of Johan and Henrik is very sad--as both men are so totally self-absorbed and screwed up that they both seem incapable of a mature relationship with anyone. In addition, the film focuses a lot on despair and loneliness--certainly NOT surprising from a Bergman film! If you are looking for all the problems to be solved or have a deeper significance, then you WILL be disappointed. Alienation and despair are nothingness are indicative of Bergman's own philosophy and permeate the film. Exceptionally well-made but depressing--it's worth a look unless you have depression. In that case, the film's grimness might drive you over the edge!
The bulk of the movie involves the sick relationship between Karin (the grand-daughter) and her father, Henrik. Since the death of Henrik's wife, he has placed all of his energy in training Karin to be a concert cellist. Instead of being his daughter, her needs are pretty much irrelevant to Henrik and she is a thing instead of a person. The viewer learns about this when Karin comes to her grandfather's house but finds that his ex-wife is the only one there. Although they have no blood relationship and don't know each other, Karin needs to talk and tells her how frustrating this relationship is with her father. Over the course of the film, however, you learn that this relationship is far more disturbing. Although it is not technically incestuous, the pair sleep in the same bed and late in the film, Henrik kisses Karin full on the mouth! Also, the emotional blackmail that he uses to control her is disturbing. This is a super-interesting film from a psychological standpoint though I am sure many in the audience will feel "creeped out" over it.
Sure, there's much more to this very talky movie than just this relationship. The interaction of Johan and Henrik is very sad--as both men are so totally self-absorbed and screwed up that they both seem incapable of a mature relationship with anyone. In addition, the film focuses a lot on despair and loneliness--certainly NOT surprising from a Bergman film! If you are looking for all the problems to be solved or have a deeper significance, then you WILL be disappointed. Alienation and despair are nothingness are indicative of Bergman's own philosophy and permeate the film. Exceptionally well-made but depressing--it's worth a look unless you have depression. In that case, the film's grimness might drive you over the edge!