"Cries and Whispers" follows the method of Bergman's previous work "The Silence", starting with the ticking of clocks, using five different clock sounds with close-ups of hands and pendulums. Time is of extraordinary importance in the film. , Close-up pictures of clocks are interspersed in various parts of the film. Nick West’s photography exudes all the charm of the film, creating an “oil painting-like texture” on the screen. But in fact, the use of colors in the film is "unnatural", and the large color blocks with red as the base tone are too strong. However, this "shortcoming" fits the film's inherent needs. Color is related to the character's psychology and emotions, so those pictures that usually appear artificial and blunt are particularly appropriate in the film. Bergman described in an almost naturalistic way that terminal cancer patients are step by step towards the end of their lives in debilitating and severe pain. For this reason, he must use beautiful pictures and bright colors to reconcile them, so as not to make people fall into the right. The fear of death and the despair of life. The dead Agnes and her diary tell of the beauty of an ideal life, which makes the scene of the three sisters and Anna walking in the forest covered with golden leaves at the end of the film even more touching
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Cries & Whispers evaluation action
2022-01-11 08:02
Extended Reading
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Makenna 2022-03-28 09:01:08
The closed situation where the characters are minimally explained, the whole film is clearly marked with a strong assumption of the simplified treatment of sounds, colors and scenes - the silence of the space corresponds to "cries and whispers"; red and white; a lot of close-ups. In this aesthetic orientation, even wrinkles have become a modification. The pinnacle of hypothetical is in the handling of the resurrection of the corpse at the end of the credits. When An Zhe made "Hunter" five years later, it was hard not to imagine that the film was his inspiration.
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Emma 2022-03-25 09:01:15
Glad to watch Autumn Sonata with this one. It’s easy to see Haneke’s reference to Bergman by watching the two films, especially “The Piano Teacher” is basically the same: the poor mother-daughter relationship, the masochistic way of cutting private parts, and the cold and alienated character temperament. . When I wanted to come to Bergman to give "Piano Teacher" four stars, I must have thought: Oh, boy, this is what I learned. . .
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Maria: I have no need of pardon.
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Karin: Anna. You hear that?
Anna: I hear only the wind and the ticking of the clocks.
Karin: No. It's something else.
Anna: I don't hear anything else.
Karin: I'm freezing. Good night.