Saraband Page #6

Synopsis: Marianne and Johan meet again after thirty years without contact, when Marianne suddenly feels a need to see her ex-husband again. She decides to visit Johan at his old summer house in the western province of Dalarna. And so, one beautiful autumn day, there she is, beside his reclining chair, waking him with a light kiss. Staying at a cottage on the property are Johan's son Henrik and Henrik's daughter Karin. Henrik is giving his daughter cello lessons and already sees her future as staked out. Relations between father and son are very strained, but both are protective of Karin. They are all still mourning Anna, Henrik's much-loved wife, who died two years ago, yet who, in many ways, remains present among them. Marianne soon realizes that things are not all as they should be, and she finds herself unwillingly drawn into a complicated and upsetting power struggle.
Genre: Drama, Music
Director(s): Ingmar Bergman
Production: Sony Pictures Classics
  2 wins & 2 nominations.
 
IMDB:
7.8
Metacritic:
80
Rotten Tomatoes:
91%
R
Year:
2003
107 min
$478,554
Website
609 Views


- She'll blame herself.|- She should have thought about it.

- Do you think she'll return home?|- I don't know.

- You'll speak to her, won't you?|- If we find her.

I'll hire you as my agent.|How much do you charge?

Money is no problem.

As long as you put her|guilt in a safe.

What if she comes?|She loves that bastard.

- That would be disastrous!|- Yes, I believe so.

What can I say?

I was so close to Anna.

It was terrible when she left.|For me also.

Even though I was on the|outskirts of the catastrophe.

It's incomprehensible that Henrik...

had the privilege|of loving Anna.

And that she loved him.

- You're smiling ironically.|- No.

I'm not smiling.|I'm trying not to cry.

There's no reason for you to cry.

There is, but I won't|give any explanations.

TEN|THE HOUR BEFORE THE DAWN

Marianne.

Marianne!|Sorry to wake you up.

It's all right.|I'll go back to sleep.

- What's wrong? Johan?|- I don't know.

- I think it's anguish.|- Anguish? What do you mean?

- I see! You're sad!|- I'm not sad...

It's worse. It's an anguish|from hell. It's bigger than me.

It's trying to make way through|every orifice in my body;

my eyes, my ass. It's like a huge|mental diarrhea!

I'm too small for this anxiety.

Are you afraid of death, Johan?

More than anything,|I'd like to scream.

What can you do with a baby|that won't be comforted?

- Come, lay by my side.|- There's no room.

- We've slept in smaller beds.|- We won't be able to sleep.

It doesn't matter. Not in|the last days of our lives.

I have to take off my shirt.|It's damp from my diarrhea.

Come on.

You take it off too.

Yes

Come on, Johan.|Come here.

There... lie down.

- Good night, Marianne.|- Good night.

Could you explain why|you turned up here?

- I thought you were calling me.|- I never called anyone.

- I had it in my head.|- How strange.

I understand your not understanding.

- How long will you stay?|- I have a case on the 27th.

- November?|- October.

- Good night, again.|- Good night.

Perhaps you're asking|yourself how it came out.

I stayed with Johan|until early October.

Our time together|was relaxingly pleasant.

We almost never talked about|sensitive subjects.

The last night we celebrated.

Nothing out of this world,|but good enough.

We promised to remain in touch.

I think we even fantasized|about a trip to Florence...

the next spring.

That trip never|happened, of course.

But we used to speak on|the phone on Sundays.

Then, one day Mrs. Nilsson|answered the phone.

She said that Johan|couldn't take any calls,

but that he would write.

I asked if he was all right;|she said yes, as far as she could tell.

That he was just tired and|that he would be writing.

I never got a letter, of course.

I wrote him, but never got an answer.

That's all I know.

Things are always all|right with me. In order.

Everything in its place. Maybe I'm a|bit lonely, but I don't know.

Sometimes... I think of Anna.

I wonder how she|managed her life.

How she spoke...

How she moved...

Her look...

That almost surreal smile.

Anna's feelings.

Anna's love.

Well...

Something happened to me that|perhaps is related to this.

When I came back, I visited|my daughter Martha at the sanatorium.

But I thought about|the enigma...

that for the first|time in our lives...

I realized...|I felt...

that I was touching my daughter.

My baby.

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Ingmar Bergman

Ernst Ingmar Bergman (Swedish pronunciation: [ˈɪŋmar ˈbærjman] ( listen); 14 July 1918 – 30 July 2007) was a Swedish director, writer, and producer who worked in film, television, theatre and radio. Considered to be among the most accomplished and influential filmmakers of all time, Bergman's renowned works include Smiles of a Summer Night (1955), The Seventh Seal (1957), Wild Strawberries (1957), The Silence (1963), Persona (1966), Cries and Whispers (1972), Scenes from a Marriage (1973), and Fanny and Alexander (1982). Bergman directed over sixty films and documentaries for cinematic release and for television, most of which he also wrote. He also directed over 170 plays. From 1953, he forged a powerful creative partnership with his full-time cinematographer Sven Nykvist. Among his company of actors were Harriet and Bibi Andersson, Liv Ullmann, Gunnar Björnstrand, Erland Josephson, Ingrid Thulin and Max von Sydow. Most of his films were set in Sweden, and numerous films from Through a Glass Darkly (1961) onward were filmed on the island of Fårö. His work often deals with death, illness, faith, betrayal, bleakness and insanity. Philip French referred to Bergman as "one of the greatest artists of the 20th century [...] he found in literature and the performing arts a way of both recreating and questioning the human condition." Mick LaSalle argued, "Like Virginia Woolf and James Joyce in literature, Ingmar Bergman strove to capture and illuminate the mystery, ecstasy and fullness of life, by concentrating on individual consciousness and essential moments." more…

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Submitted on August 05, 2018

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