It becomes increasingly clear how much pain one’s absence had caused in the other’s life, but Bergman does not need more to show what it was that made such wounds grow to become so severe. Yet the clashes of the two lifestyles also create something far more resonant. But after having spent so much time isolated from each other, it’s clear enough that the two have developed lives of their own. Though it’s clear how important his own personal touch is to his own body of work – for Bergman at his best even has us examining the facets that make up life the way we see it, through both the abstract and the most intimate.Ĭharlotte’s return into Eva’s life, after having been estranged from one another for so long shows itself to be almost akin to an intrusion. But like the very best filmmakers, Bergman’s musings about these moments are never made without the thoughtfulness that has gone on to build an enduring legacy for the Swedish filmmaker over the years. In the eyes of Ingmar Bergman, familial experiences are also a defining factor in the sort of person that we could ever turn out to become, especially in how we interact with our parents. Her daughter, Eva (Liv Ullmann) is married to the village pastor but has other concerns, after having been neglected by her mother for so long, she is also left with the surprise visit to deal with – soon this also opens up wounds that have become too painful to come back to. Ingrid Bergman stars in her final theatrical film as Charlotte, an eccentric world-renowned pianist who visits her family once again after having embarked on a concert tour. But Bergman has always made his own company as an artist clear, for he interacts with his recurring collaborators just as he would with friends, and it always makes for a rewarding journey. But most admirable about the way in which he approaches such a subject is his own intimacy – something always present in the way Bergman directs his actors. Perhaps often noted for being the first time in which cinema’s most famous Bergmans – Ingmar and Ingrid – had finally come together, Autumn Sonata is a film that puts into question even the very extent to which we fixate our lives on something that we love doing most with our life and what happens when the damage can only become ever so severe. It’s a film that tells of even Bergman’s own dedication to something that he loves most – at the expense of another important building block of his own life. Of course, a perfect example of this would be his theatrical swan song Fanny & Alexander, but there’s a deeply personal touch in Autumn Sonata that also makes said film worth noting. Ingmar Bergman was never a person who had much time for his family, yet there’s something about the way in which he captures family dynamics onscreen that makes for something wholly entrancing.
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