The greatest talent of an artist is measured by the timelessness of his work. Ingmar Bergman undoubtedly creates such a masterpiece by delving into the inner motives of his characters, separating their true nature from their outwardly fraudulent diligence and honesty. Hypocrisy is not a modern invention, as shown brilliantly in 'Fanny and Alexander' from 1975.
It is frightening how hypocritical ideals change over time, yet the underlying desire to pretend is passed down through generations. The Church and its rule back then, and later communism and socialism-in the wrong hands, these can become tools of oppression rather than means of prosperity and love. Bergman's characters stand firm against emotional and physical abuse, triumphing with the freedom of life.
Magic, love, and joy are the instruments that fortify cruelty. For Alexander, the world of dreams and imagination is a way to complete the puzzle of reality. His unconscious manifests in the form of ghosts of past people to provide support, or even become an inner governor as in the case with the bishop. Additionally, the miracle of Judaism and its spiritual power resurrect justice in several ways: more obviously and straightforwardly through the children's rescue by Isak, and another much more mysteriously-through the androgynous angel Ismael's sensitive perception of Alexander's hostile inner thoughts and their aim to fulfil the tantalising hope, which granted Alexander physical escape but a mental trap. Could this be the reason for keeping Ismael locked up?
Last but not least, the overarching theatre theme serves as an allegory for liberty and the triumph of imagination. The theatre disappeared, and creativity was oppressed during the bishop's rule. Its reappearance marks a new chapter in the Ekdahl family's history. The reference to Hamlet in Alexander can be noticed from the second act. The Ekdahls are irreversibly associated with the world of theatre and cultural anthropology. Interestingly, the family members are shown to possess recognisable sins, yet remain honourable and pure-the contrast appearing throughout the personages of the movie. Progressive views go hand-in-hand in the artist's house: about love and marriage, about the relationship between women and men, and about women's position in the world.
Although the movie is mostly a reflection of reality from Alexander's perspective, his sister Fanny appears to shadow her brother's rebellion with a soft acceptance of events.
This movie's artwork reflects on religious rules, the artistic opposition to all the unfairness of reality, and the power of art and magic to withstand it. It is strong yet funny and catchy, serving as a pillar of hope and faith against the darkest sides of ourselves. Bergman's visionary ideas make this movie worth watching even today!
It is frightening how hypocritical ideals change over time, yet the underlying desire to pretend is passed down through generations. The Church and its rule back then, and later communism and socialism-in the wrong hands, these can become tools of oppression rather than means of prosperity and love. Bergman's characters stand firm against emotional and physical abuse, triumphing with the freedom of life.
Magic, love, and joy are the instruments that fortify cruelty. For Alexander, the world of dreams and imagination is a way to complete the puzzle of reality. His unconscious manifests in the form of ghosts of past people to provide support, or even become an inner governor as in the case with the bishop. Additionally, the miracle of Judaism and its spiritual power resurrect justice in several ways: more obviously and straightforwardly through the children's rescue by Isak, and another much more mysteriously-through the androgynous angel Ismael's sensitive perception of Alexander's hostile inner thoughts and their aim to fulfil the tantalising hope, which granted Alexander physical escape but a mental trap. Could this be the reason for keeping Ismael locked up?
Last but not least, the overarching theatre theme serves as an allegory for liberty and the triumph of imagination. The theatre disappeared, and creativity was oppressed during the bishop's rule. Its reappearance marks a new chapter in the Ekdahl family's history. The reference to Hamlet in Alexander can be noticed from the second act. The Ekdahls are irreversibly associated with the world of theatre and cultural anthropology. Interestingly, the family members are shown to possess recognisable sins, yet remain honourable and pure-the contrast appearing throughout the personages of the movie. Progressive views go hand-in-hand in the artist's house: about love and marriage, about the relationship between women and men, and about women's position in the world.
Although the movie is mostly a reflection of reality from Alexander's perspective, his sister Fanny appears to shadow her brother's rebellion with a soft acceptance of events.
This movie's artwork reflects on religious rules, the artistic opposition to all the unfairness of reality, and the power of art and magic to withstand it. It is strong yet funny and catchy, serving as a pillar of hope and faith against the darkest sides of ourselves. Bergman's visionary ideas make this movie worth watching even today!