Ingmar Bergman's is absolutely one-of-a-kind genius in the world, so simple to understand and exquisite quality, it is almost a perfect movie. Now it seems that the use of that parallel editing is not uncommon, but the power in it is still unstoppable! Of course, some of these theatrical structures can be said to be a bit blunt, but why does this simple and direct method lose its charm?
Many people ridicule why the master's pause is the style, and the lesser-known director's technique is just gimmicky. But who cares about the power of the same technology bursting out?
Bergman took the time to tear apart the seemingly happy family and used alcohol to advance the discussion. How can you hurt someone in the name of love? Does love really exist? What kind of power does love have?
A mother who seems to be active, strong, elegant and talkative, and an inferior daughter who even writes a letter hoping to praise her husband. The two typical contrasting characters are destined to be the mother's guilt when she sees her seriously ill daughter, the insecurity frightened by nightmares, A reversal between late-night sensuality and alcohol fueling.
The process of analyzing love is also the process of growing up. After the heartbreak, the audience saw through the eyes of her husband that her daughter still believed in the power of love, and she still had great hope after experiencing great pain (although from the mother's reaction, this Such efforts are destined to be hopeless), but this is the very definition of adults that couples' pre-dinner conversations are about.
In addition, the discussion of family in the film is so back-up and valuable from now on. Does love have to exist in the family, what does inequality in the relationship between the child and the parent lead to, or whether the family deserves to be the ultimate form of love.
The two actors are so wonderful that they have to be admired. Especially when Liv Uman, the daughter's actor, is performing the progressive crying about her mother's destruction of her childhood, there is absolutely reason to believe that even an audience who has no previous feelings will shed tears when they see it! This kind of control over emotions is reminiscent of the fragile look on Max von Sydow's face when Liv Uhmann turns his head to look at Max von Sydoff after losing control of the car in Bergman's "Anna's Lust".
View more about Autumn Sonata reviews
