The expansion of the two sisters play in "Silence" is the three sisters and the maid. Still continuing Bergman's theme, the cry of love, the whisper of love.
The eldest daughter Karin, by virtue of her identity and her own intelligence, undertakes the important affairs of the family, and is kept away from love by various constraints (doing accounts, the tediousness of undressing, and the tension of the husband sharing meals); the second daughter, Maria, has never left her mother. love, without actively exerting it, the desire for courtship can never be satisfied, and it is transformed into an endless stream of erotic desires (tryings, "exposed" clothes); the third daughter Agnes has a strong courtship, but cannot fit in because she can't express it, Then the mother's care is lost (the aphasia of the shouting - the incompetence of expression); the maid becomes the mother of Agnes, which constitutes the meaning of the coming of the Virgin - the picture of the Virgin, skin contact, the room - a symbol of mother's love, thus forming Anna - the mother , a counterpoint to Agnes-Anna's daughter (who is also ill).
The close-up of the faces pushes each character into a desperate "single room", isolating the environment and relationships, facing the cry of the self and the whisper of the other. Only the maid Anna, who actually works daily, has a link in action, allowing the nobles who are isolated from their daily actions to form an active connection. Anna is faced with the whispers of everyone.
Recalling that scene, from the connection between Maria and Aegris, I seem to have seen Tarkovsky's expression in "Mirror". Bergman said that he made a feeling that he couldn't make. I guess that's what he said. .
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