If the entire movie were as tense, engaging, and interesting as the (approximately) first and last sixths, then this likely would have been an excellent movie. Instead, this psychological character study of why an upper-class businessman decides to murder a prostitute falls from its attention-grabbing opening to a lengthy middle act that often feels like a chore to watch, all before picking back up at the end.
From the Life of the Marionettes proceeds with a series of non-linear vignettes, each purporting to explore why Peter decided to kill a woman. Many of the episodes focus on the relationship between Peter and Katarina, which is strained and dysfunctional, with each of them alternating between affection and inflicting pain on the other. Some scenes focus specifically on Peter, including his apparent feelings of entrapment and lack of control in his work and relationship.
The movie has notable and insightful portions, but large hunks of it get bogged down by pretentious, high-brow dialogue delivered via tedious monologues more likely to make you check your watch than have a philosophical insight. It also is odd that Bergman chose to reprise these characters from their earlier appearance in Scenes from a Marriage. That was an unnecessary choice that adds plot baggage to the characters. (Personally, it's difficult to believe the couple from Scenes from a Marriage is the exact same one as this couple.)
The acting is excellent. The cinematography is interesting, though there are a number of highly experimental scenes throughout, with mixed results. The soundtrack of what seems to be German club music was grating.
Overall, it was an interesting concept that did not pan out. The low points simply outweigh the good elements.
From the Life of the Marionettes proceeds with a series of non-linear vignettes, each purporting to explore why Peter decided to kill a woman. Many of the episodes focus on the relationship between Peter and Katarina, which is strained and dysfunctional, with each of them alternating between affection and inflicting pain on the other. Some scenes focus specifically on Peter, including his apparent feelings of entrapment and lack of control in his work and relationship.
The movie has notable and insightful portions, but large hunks of it get bogged down by pretentious, high-brow dialogue delivered via tedious monologues more likely to make you check your watch than have a philosophical insight. It also is odd that Bergman chose to reprise these characters from their earlier appearance in Scenes from a Marriage. That was an unnecessary choice that adds plot baggage to the characters. (Personally, it's difficult to believe the couple from Scenes from a Marriage is the exact same one as this couple.)
The acting is excellent. The cinematography is interesting, though there are a number of highly experimental scenes throughout, with mixed results. The soundtrack of what seems to be German club music was grating.
Overall, it was an interesting concept that did not pan out. The low points simply outweigh the good elements.