Against expectations of the filmmakers, it was a box office hit. Or it can be interpreted as a parable of Sensuality, Intellect, and Innocence, that cannot coexist in the world where God does not exist. It gives the audience an idea of what the following story will be and what the genre of the movie is. From the first scene, Bergman lets you know he will be squeezing every drop of cinematic potential out of his three main players and their limited locale. The character of Johan represents the one who perceives.
If there is other fair use media, consider checking that you have specified the fair use rationale on the other images used on this page. The film was photographed by , Bergman's great longtime collaborator, and I wonder if I can be excused for noticing in Johan's scenes in the hotel corridors a faint echo of. It raised a great deal of controversy in Sweden, and its notoriety continued to raise hackles elsewhere in Europe. The problem is for hope to survive into adulthood. Eventually, Anna and the kid decide to continue on their journey, leaving Ester in the hotel, apparently to die alone. Ingmar Bergman: A Reference Guide. I could turn analytical and point out that Anna, who picks up a man and has sex with him in the hotel, represents Body, and that Ester, who works and reads in bed and at the table in her room, represents Mind.
I think the boy is the key to the film -- in what way, I'm not sure. He tells Ester what he has seen. But Anna spurns these entreaties for affection and goes out of the hotel again. This is a desolate film, and no redemption from the loneliness of death and individuality may be possible other than the consciousness of the beauty of that desolation. This plus some strong language led to intense public controversy in Sweden and several other countries at the time.
He seems to be tentatively headed down the path, like that followed by his sister Ester, of trying to make contact with others in order to find something meaningful in this chaotic and uncertain world. This was certainly my experience watching The Silence. New York and London: Routledge. From here Johan ceases his wanderings and bonds with Ester. Modernist Montage: The Obscurity of Vision in Cinema and Literature. The Hidden Cinema: British Film Censorship in Action, 1913—1975. Throughout the film, Bergman's emphasis, as so often, is on the face.
Provoked, Anna spitefully fabricates a sexual encounter with the waiter to her sister. Uninterested, Anna opens the window and cools herself with the outside rain. He is placed in the sad position of being a child too young to process the information in his life, which he somehow senses is urgent. He doesn't smile much, isn't a clown, observes gravely the adult world around him. Ester takes to her hotel room bed, where she is shown solitarily writing, smoking, and drinking vodka in another two-minute shot. Indeed her interactions with Johan throughout the film are quite physical — she often kisses him sensually, has him scrub her back when she takes a bath, and sleeps naked with him in the bed. Although Ester is a professional , neither she nor her relatives speak the language of this country.
A lot is left up to us to interpret, typically of Bergman's cinema. Ingmar Bergman's The Silence: Pictures in the Typewriter, Writings on the Screen. Her trollop sister Anna checks sis into a hotel, drops off her young son, and spends the hours cruising for men which she finds. Anna's lover advances upon her again. Later, she watches a show in an uncrowded theatre, and is both repelled and fascinated when a young couple begin to have sex in a seat nearby. The older one -- even though she is very ill -- would like to make a human connection also but cannot leave the hotel room.
The younger sister sometimes neglects her son Johan Jörgen Lindström a boy of 8 or so , who wanders around the seemingly empty hotel while Anna looks around the city, resulting in a sexual encounter. One is Ester , a translator, a woman who looks severe, pained, disappointed. Bergman developed the spoken in Timoka. Perhaps the instinctive sympathy he feels for both women is intended to show us a whole person, not parceled into flesh and thought. A fictional newspaper in The Silence shows the of Timoka, which causes a lack of communication between its people and the protagonists. When Johan returns to say good-bye, Ester gives him a note. Anna gets furious and asks her to leave the room.
On 19 August 2003, released the film on in , in a boxset with Bergman's films Through a Glass Darkly and Winter Light and 's documentary. After Johan has fallen asleep, Ester sobs at the door of Anna and her lover, asking to come in. Do not simply insert a blank template on an image page. The Silence — God's silence — the negative imprint. This is not a fun movie. As he enters the frame, he is like a spectral visitor stooping down to inquire, but his heart is good.
Ester leaves, and Anna proceeds to have animalistic sex with her all-but mute lover. She is terrified of suffocating. Ester, the older sister and a literary translator, is seriously ill. There is another one of those long medium-closeup shots in the film showing Ester in her bed satisfying her sexual urges to a climax. Ingrid Thulin and Gunnel Lindblom star as the two sisters, whose apparent incestuous relationship has destroyed them both, Esther Thulin physically she is dying and Anna Lindblom mentally. Montreal and Kingston: McGill-Queen's University Press.