“Cries and Whispers” – Ingmar Bergman (1972)


Photo by Ingmar Bergman Crying and Whispering (whispering and shouting, 1972) is a unique film in several respects and is different from other films in Bergman’s euvre. For one thing, the film does not follow A straightforward, coherent story like most filmed games. Instead, it consists of a collection of memorable thoughts and visions on the sides of its four main characters. As a result, the film has absorbed various ideas from a variety of artists. Famous film critic Andrew Sarris hated the film [1]. On the other hand, Roger Ebert was fascinated by the film and said this [2]:

“‘Crying and Whispering’ is like a movie I have never seen, and if there is no movie that Ingmar Bergman has ever made, although we can all see many movies in our lives, there will be a few like this. It’s hypnotic, confusing, scary. . ”

And everywhere, the film is considered a high-profile movie [2,3,4,5,6,7,8,9]. In addition, the masterpieces used in the production were recognized by the US Academy of Motion Picture Arts and Sciences by awarding five nominees, including one for “Best Photo” (not just a selection of “Best Film in the World”, for example, Best Movie Extreme Foreign).

For my part, as I see it Crying and Whispering, At first I was skeptical and thought that some of the members of the group might have been so intrigued that they had not been able to produce a dramatic drama. But as the film progressed, I became more and more involved with the emotional scenes. As detective Emma Wilson said [8],

“He [Cries and Whispers’s] achievement, making it stand out from the Bergman group as unique, and showing extraordinary love and fear.

Of course, there are several types of human ideas available that are linked in this article:

  • Honesty is true
  • Communication
  • Human friendship
  • Ululu
  • Death
  • Love

But before we look at the scenes in this film, we need to clear up some of the stereotypes in the English language. “Crying and Whispering” is an English translation of the Swedish title, “Viskningar och rop”, but the English translation probably conveys the idea of ​​grief. However, as Norman Holland points out, the English word for “cry” has two meanings – (a) “weeping”, for example, “weeping,” and (b) weeping, whereas the Swedish word ‘rop’ simply means shouting. [4]. Hence the most accurate translation, even for a short time, the translation of “Viskningar och rop” would be “Whispering and Crying”. This shows that the most important part of the film is not so much the grief, but the different forms of communication, which is one of the topics mentioned above.

The events of the film take place in a large Swedish village in the late 19th century, and they affect the minds and emotions of the four elderly women living there. (There are male characters in the film, but they are usually subtle interpreters.) Three of the women are sisters – Agnes (played by Harriet Andersson), older sister Karin (Ingrid Thulin), and sister of Agnes Maria (Liv). Ullmann) – and the fourth wife is a domestic worker, Anna (Kari Sylwan), who has served at home for 12 years. Karin and Maria have come to the home to care for their sister Agnes, who is suffering from colon cancer to the end. The video begins to show Agnes lying in bed with a sharp, throbbing pain that is reduced by a two-minute recording close to Agnes’ aching face. In a room next to the other three women are shown expressing their concern.

The film then begins its sequence of memories and visions, some of which seem like fantasy. All of this is covered with scars and bruises from the deep red, not black, and indicates the approach of a woman with a vision before disappearing to a very red color. Truly color is the most important element in the film, especially the red one, which Bergman once said represented him “within life”. [5]. And black and white are also important shades for Bergman. Norman Holland has described these three colors for Bergman as “red for the fruit-bearing, longing; holy to the virgin; black goddess of death ” [4]. Here in the film we can identify these characters with four women: Maria (red), Karin (black), Anna (white), and Agnes (white).

The sequence of memories and visions provides a brief account of how the four women see themselves and others. Other than that, this is natural – we like to present ourselves and other people we know not as a list of facts, but based on short stories we have created with a purpose. [10,11,12].

To disclose Mary’s condition, there is a vivid reminder of the time when Agnes’ physician, David (Erland Josephson), paid a brief visit to the hospital and before leaving was met privately with her. We learn that Maria and David had an ex-girlfriend (which caused her neglected husband Joakim (Henning Moritzen) to attempt suicide) and now Maria wants to get things back on track. But David does not want to get anything in return with the woman, and he holds her in the mirror to see how he describes how years of selfishness and self-promotion have affected his face. Maria, looking at her picture in the mirror, seems to be acknowledging David’s painful illness.

At one point, however, Maria was shown visiting her sister Karin and seeking to rekindle a loving relationship that had been growing up. Maria wants to touch and kiss her sister again, but Karin is adamant and does not want to. Eventually, though, Karin succumbed to Maria’s habits and embraced her in a loving way. But then Karin wanted to rekindle her love for her sister, but Maria was so surprised that she forgot all about what she had done before. This shows that, Maria is a smart, outgoing, curious person, but she lives a long time and does not have a long-term mindset.

But Karin, on the other hand, is lonely and thoughtful, emotionally attached, and resentful for a long time. There is a vivid memory that shows her eating dinner with her husband, Fredrik (Georg Årlin), who is cool and selfish. Afterwards, she takes a broken glass and uses it to cut her genitals painfully in order to prevent her husband from having sex with her.

Anna, the worker, is a normal person but full of love and compassion. She is a devout man who prays to God regularly, and she has reason to believe in his incomparable wisdom, since he killed his daughter years ago. After Agnes’ death, Anna still remembers or imagines the moment when Agnes was resurrected for a short time and asked for comfort near the end of her life. Karin and Maria were devastated when they saw the vision and returned with fear, but Anna went to Agnes and naturally hugged her as a mother would comfort her troubled child.

We do not know much about Agnes’ inner vision until the end of the film. Maria and Karin’s husbands come to the construction site and close the door, and they remove Anna painfully without stopping. Then Anna had to unpack her things, and in the process, she came across Agnes’ diary. Anna reads the book’s contents, which seems fascinating, as Agnes recounts a time when she felt better, and when she, Karin, Maria, and Anna played together in the park. In particular, Agnes illuminated the moment she shared the unity as she swayed on the swing. This was a very special time for Agnes, and she did [4],

“My favorite people all over the world were with me. I could hear them talking next to me. I could feel the presence of their bodies, the warmth of their hands. I wanted to catch the moment quickly and think,

‘No matter what, this is a joy. I do not want anything better. Now, for a few minutes, I can be perfect. And I really appreciate my life, which gives me so much. ‘”

So the film ends with the impression that although her life was miserable and sadly short, Agnes was probably the one who had a more stable and satisfying life. He had the ability to recognize and retain all the good moments he had experienced in his life. This is an event that brings things together and makes the film cohesive. But this is one of the film’s most inspiring lyrics on dating (or anticipation).

Instead, there are many forms Crying and Whispering which critics claim to be exceptionally wise, even to Ingmar Bergman. Emma Wilson, writing The Criterion Collection, he also praised two other incidents – one of Anna wrapping Agnes in her chest and the other of Agnes reviving her, which frightened her sisters. [8]:

“The two images are very different in each film, I think, in finding the shape, the image, having an incredible imagination.”

Roger Ebert had his favorite dishes [2]:

“These two portraits – of Anna, hugging Agnes, and Karin and Maria related as a frightened cat – are two of Bergman’s greatest works ever created.”

When you watch the movie, you can have your favorite. Together, all this time of vision involved Crying and Whispering add to the action of moving video.

  1. Andrew Sarris, “Stable Movies”, City Voice, (28 December 1972).
  2. Roger Ebert, “Crying Out for the Whisper”, RogerEbert.com, (12 February 1973).
  3. Vincent Canby, “Bergman’s New Crying and Whispering”, The New York Times, (22 December 1972).
  4. Norman N. Holland, “Ingmar Bergman, Crying and Whispering, Whispering and Shouting, 1984. ”, Too Much Focus, (1984).
  5. Peter Cowie, “Crying Out for the Whisper”, The Criterion Collection, (June 18, 2001).
  6. Roger Ebert, “Crying Out for the Whisper”, Best Movies, RogerEbert.com, (August 18, 2002).
  7. Marco Lanzagorta, “Crying Out for the Whisper”, Cinema Ideas. (March 2003).
  8. Emma Wilson, “Crying and Whispering: Love and Death”, The Criterion Collection, (April 1, 2015).
  9. Margarita Landazuri, “Crying and Whispering”, Turner Classic movies, (23 February 2016).
  10. Roger Schank and Gary Saul Morrison, Tell Me a Story: Narrative and Intelligence (Rethinking Theory), Northwestern, (1990).
  11. Jerome Bruner, “The Narrative Construction of Reality”, in Narrative Intelligence (2003), Michael Mateas and Phoebe Sengers (eds.), John Benjamin Publishing Co.
  12. Paul Ricoeur, Time is an issue, voli. III, (1983-1985), University of Chicago Press.


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