In a dream sequence, the nurse is implied to have sex with the patient’s husband while the mute patient is standing nearby.
An illustration of an erect penis is shown very briefly, for less than a second. One could blink and miss it.
A four-person orgy is described, usually in mild terms, but with some graphic dialogue, such as a woman taking a boy “into her mouth,” and “coming.”

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Film review:Translated by www.rabudo-ru.com


In the summer of 1956, Faroe island.

Ingmar Bergman, 47, Liv Ullmann, 27. They filmed persona on the island, recognized as Bergman’s most mysterious film.

It’s hot. They seldom talk. During the day, Liv lay on the beach as if unconscious. She never thought about their future. She is a married woman and her husband is a psychiatrist. He has been married four times and has seven children. From the beginning, Bibi Anderson, another heroine in the mask, tried to tell liv: stay away from this man. Ten years ago, like liv, she fell in love with Bergman.

In the film, Bibi plays a nurse named Alma, and liv plays a famous actress named Elizabeth. Elizabeth suffered from aphasia, and the doctor suggested that Elma, a nurse, accompany her to the seaside for rest. In the film, Alma says all her lines, while Elizabeth is silent. Gradually, Alma became attached to Elizabeth. She began to tell her about her secret life, sex and love. But before long, Alma found that Elizabeth talked about “Alma case” in a proud tone in her letter to the doctor. Their relationship became tense immediately. Alma became hysterical and rudely asked Elizabeth to speak. She poured boiling water on her to let her speak. Finally, Elizabeth spoke, only one word; “Nothing”。 At the same time, Alma had a long dream that she was actually the same person as Elizabeth.

Liv uman

Alma and Elizabeth are the same person. Bibi and I are the same person. When Bergman first saw my picture, he thought it was Bibi Anderson. For our amazing similarity, he invited us to join the crew of mask. After the mask was finished, many people said it was a film about “two faces” or “one face”. Bergman liked to close-up the faces of me and Bibi. Sometimes I looked at Bibi on the screen as if I were myself. However, just as he couldn’t convince himself, Bibby couldn’t let me leave Bergman.

Lying in the sun on Faroe Island, I felt it was the only summer of my life. Bergman and I took a long walk along the coastline without saying a word. We looked at the sea for hours and hours, regarded each other as sea water, and still didn’t say a word. I’m dreaming. If I talk, I’ll wake up. Bergman took a lot of pictures for me. Everyone said I looked beautiful, but sleepwalking.

Ingmar Bergman

Liv is a Norwegian. She was born in Japan before World War II. Her father and grandfather died in the war. Therefore, she suffered great fear and sadness in her childhood and formed the habit of seeking peace in a closed bathroom. On Faroe Island, once I angered her, so she locked herself in the bathroom and wouldn’t come out anyway. From the doorway, I saw her sitting sadly inside, becoming the child who needed protection and did not talk more than 20 years ago.

Liv uman

Faroe island is between Russia and Sweden. I have never seen such a desolate place. It is like a relic of the stone age. At night, we can see the sea in bed. The house is lonely. We are lonely. I only have Bergman and he only has uman. Sometimes when he couldn’t sleep, I lay beside him motionless and silent, worried that I would drift away from the silence of him and his beloved, and that I wasn’t a part of his mind. My sense of security comes from this dream like silence. Only then will he be mine.

What still belongs to me is pat, the dog I brought from my hometown. She used to be my husband’s dearest partner. Every day when he came back from work in the hospital, she entangled him with boiling passion. Later, I took her to Faroe island. At the beginning, she was as angry as Bergman. She roared when she saw Bergman pulling my hand. So Bergman and I had to kiss and make out. But soon poor pat gave up, and she had an insight into the fate of her mistress in the hands of this man. She made out with him. Five years later, Bergman and I broke up. I took our daughter Lin, and Bergman left pat. They stood at the door to say goodbye to us. Pat bowed his head and was ashamed of another betrayal.

Ingmar Bergman

We were never legally married, but I built that house on Faroe Island, far from the dust, to stay with liv forever. In fact, I even forgot to ask liv if she wanted to. I didn’t ask her later. In 1977, when liv published her autobiography “changing”, I learned something about her thoughts at that time. At that time, she was invited by Jan troell to star in the immigrants and never came back.

When that day came, neither of us broke it. We all pretended that liv didn’t make a trip to Norway. She packed her clothes, but didn’t pack Lin’s clothes. It was too obvious and too like breaking up. Then she left Faroe island.

Liv uman

We lived on the island together for five years. Gradually, I found that he was willful and conceited, he was easy to be afraid, he was old and his hair was sparse, but all these could not weaken my respect for him. I know this is love.

However, one day, looking at his back, I suddenly burst into tears. Our breakup is imminent, and the omen has come. At Christmas, I mistakenly bought smoked ham as fresh meat. After baking for an hour, I brought it to the table. You can imagine how sad that dish is. Later, I took out the candle I bought and lit it. Bergman turned pale at the sight of the candle. It was a funeral candle.

He needs a more calm and tolerant woman. Shortly after we broke up, I was invited to play his cries and whispers. On the production team, Bergman soon fell in love with another actress, ingrud von Rosen. Ingrid became Bergman’s fifth wife. My daughter Lin likes Ingrid very much. She likes to spend the summer vacation with Bergman and Ingrid on Faroe island. Thank Ingrid. She didn’t throw away what I bought in Faroe. The desk is still in the old place, the curtains are still there, the cupboards and bowls are all there, and my past years are still there. But Lin said, “the stool you and Bergman have sat on has been used by countless buttocks.”

Ingmar Bergman

I had a dream that liv and I would live in pain forever. That was my dream on Faroe, when we were fascinated by each other. More than thirty years later, Liv came to see me and I took her back in the evening. We walked for a long time along the silent road in Stockholm. Liv was sixty-two years old that year, and I was eighty-two years old. Death would come at any time, and the world had long been unforgettable. I’m single. I’ve been married several times. It costs a lot of money. I have several children. Most of them are unfamiliar, and some of them don’t even know each other at all. As a person, I failed completely.

However, along the avenue of Stockholm, my 80 year old body became more eager than ever.

Liv uman

At that moment, I went through my life like a montage. My mother said, I was born in a small hospital in Tokyo. At that time, a little mouse passed through the ward. She thought it was a good omen; At the same time, the nurse bent down and whispered to her apologetically, “I’m afraid it’s a girl. Could you please inform your husband yourself?”

Under a spruce tree, my first husband and I were covered with moss and leaves. We laughed, happy, laughing, happy. We went to buy the ring because we were sorry. We told the salesgirl that we bought it for others. Finally, Bergman divorced. After saying goodbye, he left without looking back. I kept looking back, kept returning

Bergman Bergman Bergman, Bergman’s eyes, his shoes, his studio, our child Lin, his sleep, he shouted at the sea

I went to America, filmed in Hollywood and acted on Broadway. Bergman took Ingrid to see me

Ingmar Bergman

After liv left Faroe Island, half of the journalists in Scandinavia asked: what’s the matter with them? Without a word, the press had to look for hatred from the films we continued to cooperate with for decades: shouting and whispering in 1972, scenes frpm a marriage in 1973, face to face in 1976, Autumn Sonata in 1978, Until the last two OOo’s “faithless” directed by uman.

I don’t know how much past is hidden in our films, but I admit that uman has always been my favorite actor. Every part of her body was full of emotion, filled with a sad and ordinary sense of the world. At the beginning of the hour of the wolf (1968), uman’s face appeared on the screen, and the audience calmed down in her eyes, ready to accept the film and accept me. Her simple face directly tells the audience her joys and sorrows. She simply feels life, calculates the family income and expenditure with the artist’s husband at the dinner table, envies the lingering past of her husband and mistress, and cares about his nightmares… Critics often scold my films for being cold and difficult to understand, but no one scolds uman for being blurred. She is a woman in the world, a wife and a mother. Even though she screamed hysterically, the audience liked her.

Uman reminds me of Victor sjostrom. Hughes strom is the hero of wild strawberries (1975). I am deeply shocked every time I see his eyes, his mouth, his sparse hair, his wrinkled forehead and his hesitant voice on the screen. Wild strawberries is no longer Bergman’s film, it’s Hughes strom’s film. He is a man who eclipses others. So is uman.

Liv uman

Bergman is confused. Like the hero in his films, he has been wandering between reality and dreams, lies and reality, and in all his films, he can easily shuttle through different time and space. In fact, he was a lie expert and visionary since childhood. When he was seven years old, he told his classmates that his parents had sold him to Schumann’s circus, and soon he was going to meet the most beautiful woman in the world and wander around the world. His relationship with his parents was extremely cold. He was sure they didn’t want him at the beginning, so he kept saying, “I come from a cold womb.”

But the fact is that he has been seeking love from his parents all his life. His films can be summarized by the same action and idea: seeking. From smiles of a summer night (1955) to Autumn Sonata, from wild strawberries to Fanny and Alexander (1980), the positive expression of this pursuit is: at the end of wild strawberries, Sarah takes Isak’s hand and leads him to a sunny forest clearing, the other side of the world, His parents are waving to him kindly. The scene is like what we called to Ingrid Bergman, who played my mother, in the Autumn Sonata: look at me, understand me, and forgive me if possible!

The dark expression of this search is: in shame (1968), the couple boated and fled in the war. Many dead bodies were drifting on the river, and many things died in their hearts. The woman asked, “can’t we talk anymore?” In from the life of the marionettes (1980), Peter dreamed that his wife was murdered, but he just said in a daze: “the mirror is broken, what does the fragment reflect?”

Ingmar Bergman

Many people asked me why I let uman direct my play “betrayal”. In short, because she is uman, a woman I have known for 40 years. And “betrayal” comes from my own life experience. It is full of passion and almost trembling. Uman had seen this passion, and she was familiar with that tremor.

The background of betrayal is Faroe Island, and the protagonist is me. The story goes like this: Bergman is brewing a script about his previous desertion: for a woman, he abandoned a woman with his child. In a trance, the heroine Mariana appeared on his desk. Mariana was a successful stage actor and an extremely rich and gorgeous 40 year old woman. The film then switches to Mariana’s betrayal story: the cost of a ecstatic extramarital affair.

I like uman’s betrayal. It is said that the press ridiculously called it “Bergman’s masterpiece”. The reporter interviewed liv and asked her if she was sad. Was she crowned by Bergman? Liv replied, “sad? How? That’s my privilege.” That’s really my highest reward.

In fact, from Sofie (1992) directed by Liv to Kristin lavranstadter (1995), private professions (1996) and betrayal, Liv’s genius as a director is overflowing the embankment. She eased my inner struggle, my dizziness and tragedy. My story is: people who are combined by fate torture each other and become shackles to each other in vain. The same story, in her lens, is not just about torture and betrayal. All the details bring the light of the past life of memories. The heroine Mariana tells the story like a ghost, and the writer Bergman takes notes. The relationship between them becomes more and more simple.

In her story, I feel that the resentment I complained about my parents in my childhood has gradually dissipated. They are also transformed into ordinary human beings, and I am eager to meet them.

Liv uman

Bergman once photographed such a detail: a woman’s gentle face suddenly appeared on the wall, but when we opened our hands for her care, she closed her eyes sleepily. Bergman’s films often cunningly remind us that this is a film. At the beginning of the wolf’s moment, we can hear a director shouting at his command: “light – shooting -”

Many years ago, in Faroe Island, deep in my heart, I had been waiting in fear for such a sound: close the camera and end the shooting. I gradually couldn’t stand the parting that might come at any time.

Finally, the ending of love in Hiroshima came. I shouted to him in my heart, “I will forget you! I am already forgetting you! Look, how I am forgetting you! Look at me!”

Look at me! Look at me! Look at me!

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