Then the film's main plot unfolds: Actor Elizabeth Fogler (Liv Ullmann) suddenly suffers from aphasia while performing "Electra," and is cared for by nurse Emma (Bibi Andersson) while she's in the hospital. The most intuitive difference between patient Elizabeth and actor Elizabeth is that as an actor, she wears heavy makeup when acting, which is in sharp contrast with her plain face as a patient. At the same time, it also implies a metaphor: aphasia (makeup removal) The intention is to return to the most essential "self". The actor was anxious, as she did when she watched Shi Guangde self-immolation on TV. She pushed into a corner of the room, covered her eyes, and tried to escape the disturbing image. The emotional expression of the characters in the film and the content the film wants to convey are all expressed by the facial expressions of the actors and their changes. For this reason, the film is full of close-ups of faces. By squeezing the lens, we can better I understand the feelings the director wants to convey. One of the representative scenes in the early stage of the film is the musical actor lying on the bed accompanied by Bach, the camera is aimed at her face, except for the performance of the music and the dim light, the actor himself did not respond, even blinking Not a single eye, but it also expresses another meaning of anxiety: even if I am not moving, "it cannot stop time from coming to me and into my body, passing through me, giving There is a smell of ashes left.” (Jacques Aumont) Likewise, the progression of the story unfolds in the dialogue, resulting in a large number of over-the-shoulder shots, where the faces of the characters are unobstructed. "The war between...what people think of you and who you really are", "You Must Respond" Doctor (Margaretha Krook) points to the fact and futile end of the actors' attempts to fight, and advises them ( she and the nurse) to the doctor's cabin for a vacation. The actor's mental tension was relieved to a certain extent during the vacation.
If the nurse had a certain advantage in the mental struggle between the nurse and the actor before, then from the vacation, it was the backlash of the actor. It is unthinkable for two healthy people to get along without dialogue. Since the actor could not speak due to illness, the nurse made a "verbal responsibility". During this, the nurse also revealed her anxiety, especially an act of infidelity , the depraved, obscene monologue tells the story of a nurse who has been escaping the fact that it is also her greatest anxiety—her sense of responsibility for her fiancé rather than love. As the last dam of the nurse's spiritual defense line bursts, the actor and the nurse begin an irreversible fusion process, and there is a dream that is not a dream in the film (the reason for this is that the actor denies this experience, and this The experience is clearly remembered by the nurse), which shows the actors pulling the nurse's hair, standing side by side, looking at themselves in front of the camera (mirror for them), this picture foreshadows the fusion of the two. Start. However, this seemingly smooth blending process soon encountered a great challenge. The nurse secretly opened the actor's letter to her husband when delivering the letter to the actor. When I read that the actor said that studying the nurse was an interesting thing The nurse felt terribly violated. Then the nurse launched a revenge. At first, it was a hidden revenge. She put the glass slag on the only path for the actor. The actor was stabbed, but it heralded the actor's victory. The film then turns abruptly, inserting a comical phrase and nailed palm from the beginning, a close-up of an eye large enough to see the shape and texture of the pupil, and then the film reverts to the previous narrative trajectory, Unsurprisingly, the nurse did not cover up the fact that she peeked at the actor's letter, and was in conflict with the actor because she thought she had been greatly violated. Due to the actor's aphasia and a desperate slap , The nurse finally got furious and raised a pot of boiled water to throw it at the actor. At this time, the most unexpected thing happened. The actor said the only sentence in the whole movie: "Don't". In this scene, when the actor is facing life and death, the nurse's kettle is a question to the actor himself whether he chooses to exist. In the face of such a threat, the actor said "no", that is, he chose to exist, and also to the previous actor's Silence makes irony, because she always wanted to remain silent in order to think and face herself, and chose to avoid communication (existence), but in the face of great physical harm, she still couldn't stop talking and went out. Voice. Then there was their reconciliation, and the process of reconciliation and fusion (the actor's mental devotion to the nurse) proceeded more smoothly and quickly than the last time. This fusion The results are shown when Elizabeth's husband, Mr. Vogler (Gunnar Bjornstrand), comes to visit (Vogler, by the way, means fowler in German, which Freud used to do with Vogeln (intercourse, seduction). In this scene, the nurse and the actor have become one person, and the husband is in dialogue with the nurse, which is a dialogue with his wife ("You love her, she loves you, and you form some kind of bond. ”), in this conversation the nurse is hysterical again, with anxiety about herself both from the actor and the nurse herself, she says: “I’m so cold, so depraved, so irrelevant, everything is a lie and an impersonation. "After that, the actor and the nurse were fundamentally integrated into one person, and the nurse expressed her deepest anxiety as the actor herself in the next conversation with the actor - the indifference to her son, the indifference of others Under the pressure, a son was born, but he hated him so much that the son could not inspire his own motherhood at all. Only then can we tie together the images of the prologue children trying to reach out of reach. Interestingly, this conversation took place twice in exactly the same way, the difference was that the actor's face was photographed once, and the nurse's face was photographed once. We can see that their hair accessories are all tending to be the same, physically expressed. their two into one. After that, the picture was divided into two parts, and the faces of the two of them accounted for half of them. What the director wanted to express here could not be more clear. After that, the style of painting changed suddenly, and the nurse put on her own clothes again (it had been casual clothes in the beach house before), and some unbelievable things happened with the actor (the nurse cut her wrist and let the actor suck blood, this scene showed It's the actor who devoured her, the nurse slaps the actor frantically, showing her resistance), and then calms down, it's the picture of them getting up from each other, but this time we can see that the two of them are already inseparable . This makes it impossible to tell whether the period in the beach house is a dream or reality, but that's not what the director wants us to differentiate, and it turns out that it is very clear - they are two. In the last part of the film, there is even a scene where the camera shoots the actors, which adds a magical charm to the already unclear plot. The child in the prologue reappears in the picture, and he is still doing the same actions as in the prologue. As the scene faded out, the film of the projector that appeared at the beginning also reached the last one, and the whole play came to an end here. Bjornstrand) came to visit (Vogler, by the way, means fowler in German, which Freud once compared to Vogeln (intercourse, seduction)), the scene in which the nurse and the actor have already Being a person, the husband is in dialogue with the nurse, which is a dialogue with his wife ("You love her, she loves you, and you form some kind of bond."), in this dialogue the nurse is again The hysteria, with the anxiety of both the actor and the nurse, she said: "I am so indifferent, so depraved, so irrelevant, everything is a lie and impersonation." In the next conversation with the actor, the nurse expressed her deepest anxiety as an actor herself—indifference to her son, and gave birth to a son under the pressure of others, but it was so Hate him, the son can not stimulate his own motherhood. Only then can we tie together the images of the prologue children trying to reach out of reach. Interestingly, this conversation took place twice in exactly the same way, the difference was that the actor's face was photographed once, and the nurse's face was photographed once. We can see that their hair accessories are all tending to be the same, physically expressed. their two into one. After that, the picture was divided into two parts, and the faces of the two of them accounted for half of them. What the director wanted to express here could not be more clear. After that, the style of painting changed suddenly, and the nurse put on her own clothes again (it had been casual clothes in the beach house before), and some unbelievable things happened with the actor (the nurse cut her wrist and let the actor suck blood, this scene showed It's the actor who devoured her, the nurse slaps the actor frantically, showing her resistance), and then calms down, it's the picture of them getting up from each other, but this time we can see that the two of them are already inseparable . This makes it impossible to tell whether the period in the beach house is a dream or reality, but that's not what the director wants us to differentiate, and it turns out that it is very clear - they are two. In the last part of the film, there is even a scene where the camera shoots the actors, which adds a magical charm to the already unclear plot. The child in the prologue reappears in the picture, and he is still doing the same actions as in the prologue. As the scene faded out, the film of the projector that appeared at the beginning also reached the last one, and the whole play came to an end here. Bjornstrand) came to visit (Vogler, by the way, means fowler in German, which Freud once compared to Vogeln (intercourse, seduction)), the scene in which the nurse and the actor have already Being a person, the husband is in dialogue with the nurse, which is a dialogue with his wife ("You love her, she loves you, and you form some kind of bond."), in this dialogue the nurse is again The hysteria, with the anxiety of both the actor and the nurse, she said: "I am so indifferent, so depraved, so irrelevant, everything is a lie and impersonation." In the next conversation with the actor, the nurse expressed her deepest anxiety as an actor herself—indifference to her son, and gave birth to a son under the pressure of others, but it was so Hate him, the son can not stimulate his own motherhood. Only then can we tie together the images of the prologue children trying to reach out of reach. Interestingly, this conversation took place twice in exactly the same way, the difference was that the actor's face was photographed once, and the nurse's face was photographed once. We can see that their hair accessories are all tending to be the same, physically expressed. their two into one. After that, the picture was divided into two parts, and the faces of the two of them accounted for half of them. What the director wanted to express here could not be more clear. After that, the style of painting changed suddenly, and the nurse put on her own clothes again (it had been casual clothes in the beach house before), and some unbelievable things happened with the actor (the nurse cut her wrist and let the actor suck blood, this scene showed It's the actor who devoured her, the nurse slaps the actor frantically, showing her resistance), and then calms down, it's the picture of them getting up from each other, but this time we can see that the two of them are already inseparable . This makes it impossible to tell whether the period in the beach house is a dream or reality, but that's not what the director wants us to differentiate, and it turns out that it is very clear - they are two. In the last part of the film, there is even a scene where the camera shoots the actors, which adds a magical charm to the already unclear plot. The child in the prologue reappears in the picture, and he is still doing the same actions as in the prologue. As the scene faded out, the film of the projector that appeared at the beginning also reached the last one, and the whole play came to an end here. (intercourse, seduction) have been compared), in this scene the nurse and the actor have become one person, the husband and the nurse are in a dialogue, that is, with his wife (“You love her, she loves you, you Formed some kind of union."), in this conversation the nurse is hysterical again, with both the actor's and the nurse's own anxiety about herself, she says: "I'm so cold, so depraved, so irrelevant, everything It's all lies and impersonation." After that, the actor and the nurse were fundamentally integrated into one person, and the nurse expressed her deepest anxiety as the actor herself in the following dialogue with the actor - to herself The son's indifference gave birth to a son under the pressure of others, but he hated him so much that the son could not inspire his own motherhood at all. Only then can we tie together the images of the prologue children trying to reach out of reach. Interestingly, this conversation took place twice in exactly the same way, the difference was that the actor's face was photographed once, and the nurse's face was photographed once. We can see that their hair accessories are all tending to be the same, physically expressed. their two into one. After that, the picture was divided into two parts, and the faces of the two of them accounted for half of them. What the director wanted to express here could not be more clear. After that, the style of painting changed suddenly, and the nurse put on her own clothes again (it had been casual clothes in the beach house before), and some unbelievable things happened with the actor (the nurse cut her wrist and let the actor suck blood, this scene showed It's the actor who devoured her, the nurse slaps the actor frantically, showing her resistance), and then calms down, it's the picture of them getting up from each other, but this time we can see that the two of them are already inseparable . This makes it impossible to tell whether the period in the beach house is a dream or reality, but that's not what the director wants us to differentiate, and it turns out that it is very clear - they are two. In the last part of the film, there is even a scene where the camera shoots the actors, which adds a magical charm to the already unclear plot. The child in the prologue reappears in the picture, and he is still doing the same actions as in the prologue. As the scene faded out, the film of the projector that appeared at the beginning also reached the last one, and the whole play came to an end here. (intercourse, seduction) have been compared), in this scene the nurse and the actor have become one person, the husband and the nurse are in a dialogue, that is, with his wife (“You love her, she loves you, you Formed some kind of union."), in this conversation the nurse is hysterical again, with both the actor's and the nurse's own anxiety about herself, she says: "I'm so cold, so depraved, so irrelevant, everything It's all lies and impersonation." After that, the actor and the nurse were fundamentally integrated into one person, and the nurse expressed her deepest anxiety as the actor herself in the following dialogue with the actor - to herself The son's indifference gave birth to a son under the pressure of others, but he hated him so much that the son could not inspire his own motherhood at all. Only then can we tie together the images of the prologue children trying to reach out of reach. Interestingly, this conversation took place twice in exactly the same way, the difference was that the actor's face was photographed once, and the nurse's face was photographed once. We can see that their hair accessories are all tending to be the same, physically expressed. their two into one. After that, the picture was divided into two parts, and the faces of the two of them accounted for half of them. What the director wanted to express here could not be more clear. After that, the style of painting changed suddenly, and the nurse put on her own clothes again (it had been casual clothes in the beach house before), and some unbelievable things happened with the actor (the nurse cut her wrist and let the actor suck blood, this scene showed It's the actor who devoured her, the nurse slaps the actor frantically, showing her resistance), and then calms down, it's the picture of them getting up from each other, but this time we can see that the two of them are already inseparable . This makes it impossible to tell whether the period in the beach house is a dream or reality, but that's not what the director wants us to differentiate, and it turns out that it is very clear - they are two. In the last part of the film, there is even a scene where the camera shoots the actors, which adds a magical charm to the already unclear plot. The child in the prologue reappears in the picture, and he is still doing the same actions as in the prologue. As the scene faded out, the film of the projector that appeared at the beginning also reached the last one, and the whole play came to an end here. : "I am so indifferent, so depraved, so irrelevant, everything is a lie and impersonation." After this, the actor and the nurse have become one person, and the nurse will use the actor's own identity in the next dialogue with the actor. On behalf of her, she expressed her deepest anxiety-indifference to her son, giving birth to a son under the pressure of others, but disgusting him so much that the son cannot inspire his own motherhood at all. Only then can we tie together the images of the prologue children trying to reach out of reach. Interestingly, this conversation took place twice in exactly the same way, the difference was that the actor's face was photographed once, and the nurse's face was photographed once. We can see that their hair accessories are all tending to be the same, physically expressed. their two into one. After that, the picture was divided into two parts, and the faces of the two of them accounted for half of them. What the director wanted to express here could not be more clear. After that, the style of painting changed suddenly, and the nurse put on her own clothes again (it had been casual clothes in the beach house before), and some unbelievable things happened with the actor (the nurse cut her wrist and let the actor suck blood, this scene showed It's the actor who devoured her, the nurse slaps the actor frantically, showing her resistance), and then calms down, it's the picture of them getting up from each other, but this time we can see that the two of them are already inseparable . This makes it impossible to tell whether the period in the beach house is a dream or reality, but that's not what the director wants us to differentiate, and it turns out that it is very clear - they are two. In the last part of the film, there is even a scene where the camera shoots the actors, which adds a magical charm to the already unclear plot. The child in the prologue reappears in the picture, and he is still doing the same actions as in the prologue. As the scene faded out, the film of the projector that appeared at the beginning also reached the last one, and the whole play came to an end here. : "I am so indifferent, so depraved, so irrelevant, everything is a lie and impersonation." After this, the actor and the nurse have become one person, and the nurse will use the actor's own identity in the next dialogue with the actor. On behalf of her, she expressed her deepest anxiety-indifference to her son, giving birth to a son under the pressure of others, but disgusting him so much that the son cannot inspire his own motherhood at all. Only then can we tie together the images of the prologue children trying to reach out of reach. Interestingly, this conversation took place twice in exactly the same way, the difference was that the actor's face was photographed once, and the nurse's face was photographed once. We can see that their hair accessories are all tending to be the same, physically expressed. their two into one. After that, the picture was divided into two parts, and the faces of the two of them accounted for half of them. What the director wanted to express here could not be more clear. After that, the style of painting changed suddenly, and the nurse put on her own clothes again (it had been casual clothes in the beach house before), and some unbelievable things happened with the actor (the nurse cut her wrist and let the actor suck blood, this scene showed It's the actor who devoured her, the nurse slaps the actor frantically, showing her resistance), and then calms down, it's the picture of them getting up from each other, but this time we can see that the two of them are already inseparable . This makes it impossible to tell whether the period in the beach house is a dream or reality, but that's not what the director wants us to differentiate, and it turns out that it is very clear - they are two. In the last part of the film, there is even a scene where the camera shoots the actors, which adds a magical charm to the already unclear plot. The child in the prologue reappears in the picture, and he is still doing the same actions as in the prologue. As the scene faded out, the film of the projector that appeared at the beginning also reached the last one, and the whole play came to an end here. Hair accessories tend to be the same, materially expressing their unity. After that, the picture was divided into two parts, and the faces of the two of them accounted for half of them. What the director wanted to express here could not be more clear. After that, the style of painting changed suddenly, and the nurse put on her own clothes again (it had been casual clothes in the beach house before), and some unbelievable things happened with the actor (the nurse cut her wrist and let the actor suck blood, this scene showed It's the actor who devoured her, the nurse slaps the actor frantically, showing her resistance), and then calms down, it's the picture of them getting up from each other, but this time we can see that the two of them are already inseparable . This makes it impossible to tell whether the period in the beach house is a dream or reality, but that's not what the director wants us to differentiate, and it turns out that it is very clear - they are two. In the last part of the film, there is even a scene where the camera shoots the actors, which adds a magical charm to the already unclear plot. The child in the prologue reappears in the picture, and he is still doing the same actions as in the prologue. As the scene faded out, the film of the projector that appeared at the beginning also reached the last one, and the whole play came to an end here. Hair accessories tend to be the same, materially expressing their unity. After that, the picture was divided into two parts, and the faces of the two of them accounted for half of them. What the director wanted to express here could not be more clear. After that, the style of painting changed suddenly, and the nurse put on her own clothes again (it had been casual clothes in the beach house before), and some unbelievable things happened with the actor (the nurse cut her wrist and let the actor suck blood, this scene showed It's the actor who devoured her, the nurse slaps the actor frantically, showing her resistance), and then calms down, it's the picture of them getting up from each other, but this time we can see that the two of them are already inseparable . This makes it impossible to tell whether the period in the beach house is a dream or reality, but that's not what the director wants us to differentiate, and it turns out that it is very clear - they are two. In the last part of the film, there is even a scene where the camera shoots the actors, which adds a magical charm to the already unclear plot. The child in the prologue reappears in the picture, and he is still doing the same actions as in the prologue. As the scene faded out, the film of the projector that appeared at the beginning also reached the last one, and the whole play came to an end here.
The self is an important proposition in this film, and the whole film tries to discuss the placement of the self. It can be seen that nurses and actors have their own anxiety, and it is these anxiety that make their ego unable to find the correct placement. The actor tries to remove her "mask", first of all, she chooses aphasia. She tries to have only one face that is unconcealed, because language is the most insidious component of the mask; the nurse speaks continuously to make her inner self. Anxiety poured out and let yourself be released. The film concludes by showing that their selves have joined together, providing an answer and an end to this evenly matched confrontation.
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