Considered by most to be a 'marginal' work, its director was himself rather dismissive. He is on record as saying "Altogether the film isn't much and the actresses are its biggest asset". Unsurprisingly all four of its leading actresses, Ingrid Thulin, Bibi Andersson, Eva Dahlbeck and Barbro Hiort af Ornas received a 'collective award' at Cannes for their astonishing performances whilst Bergman, ironically, was recognised as Best Director for the only time at that particular Festival.
Adapted by Ulla Isaksson from her short story, this is to my knowledge Bergman's first film in which dialogue and characterisation take precedence over scenery and locations. It is decidedly non-cinematic and indeed looks forward to his later work in television. Already in evidence of course is Bergman's masterful use of close-ups which in the case of Thulin as Cecilia and especially the Stina of Dahlbeck is utterly merciless. Miss Thulin would be no stranger to these microscopic examinations in her later films for Bergman whilst this is sadly the last time that Miss Dahlbeck would appear for this director. Although not in the original story the character of Hjordis has been created by Bergman for his current muse, the gifted Bibi Andersson. As Nurse Brita this is Miss Ornas' finest hour for Bergman and although he used her again, many of her subsequent appearances were uncredited. In his first credited role for Bergman as Cecilia's disdainful husband, Erland Josephson would later prove perfect casting in 'Scenes from a Marriage'. As Stina's husband we have an unusually light-hearted Max von Sydow and theirs is one of the few happy marriages in Bergman's output. The director did not exactly gel with cinematographer Max Wilen and this is the first and last time they would work together.
The setting is a singularly inhospitable hospital, the subject matter is harrowing and Bergman's treatment is suitably taut and clinical without a trace of sentimentality, in keeping with Isaksson's "some are called to live whilst others are called to die". It does end on an optimistic note however as Cecilia realises that she is probably not cut out for motherhood, Hjordis resolves to have her previously unwanted child and Stina is left to hope that she will be luckier next time around.
Coming as it does after 'Wild Strawberries' and before 'The Magician', this has been unfairly labelled as a minor, in-between work. It deserves better.
Adapted by Ulla Isaksson from her short story, this is to my knowledge Bergman's first film in which dialogue and characterisation take precedence over scenery and locations. It is decidedly non-cinematic and indeed looks forward to his later work in television. Already in evidence of course is Bergman's masterful use of close-ups which in the case of Thulin as Cecilia and especially the Stina of Dahlbeck is utterly merciless. Miss Thulin would be no stranger to these microscopic examinations in her later films for Bergman whilst this is sadly the last time that Miss Dahlbeck would appear for this director. Although not in the original story the character of Hjordis has been created by Bergman for his current muse, the gifted Bibi Andersson. As Nurse Brita this is Miss Ornas' finest hour for Bergman and although he used her again, many of her subsequent appearances were uncredited. In his first credited role for Bergman as Cecilia's disdainful husband, Erland Josephson would later prove perfect casting in 'Scenes from a Marriage'. As Stina's husband we have an unusually light-hearted Max von Sydow and theirs is one of the few happy marriages in Bergman's output. The director did not exactly gel with cinematographer Max Wilen and this is the first and last time they would work together.
The setting is a singularly inhospitable hospital, the subject matter is harrowing and Bergman's treatment is suitably taut and clinical without a trace of sentimentality, in keeping with Isaksson's "some are called to live whilst others are called to die". It does end on an optimistic note however as Cecilia realises that she is probably not cut out for motherhood, Hjordis resolves to have her previously unwanted child and Stina is left to hope that she will be luckier next time around.
Coming as it does after 'Wild Strawberries' and before 'The Magician', this has been unfairly labelled as a minor, in-between work. It deserves better.