Well, 350 words isn't enough for short reviews.
1. Make a bold guess: You may also understand that the long and slow style is not very pleasing, so at the beginning, it is often very expressive and guilty, and then it enters the usual style. Night of the clowns, prisons, music in the dark, flowers and dreams, it's all like that.
2. Actress and nurse, from emotional extension to Guity extension, this structure is a combination of silence and still in the mirror, but compared to the first two films, it has more resonance. why? The lines are still stage-style verbose. I think in "Masquerade", Bergman finally found a way to balance: it's not enough to dilute the story, the set needs to be more concise, the montage needs to be refined and appropriately fast-paced, and some subtle design can be introduced, so as to neutralize the "spiritual rooting" "It's a slowness that's hard to get rid of.
3. The section covering the child's photo is a touching design. The female nurse questioned the actor, like the final judgment, and the same lines were filmed twice. Once the photo is complete, the camera is on the actress, silent. The second time the photo is torn, the camera is on the female nurse, aggressive. Who is whose mask? Everyone is the real face of whoever is.
4. The scene where two lesbians are pulling their hair in front of the mirror, one with short hair and one with long hair, can't help comparing it with Lynch's "Mulholland Drive". Obviously, "Masquerade" really touches the state of "spiritual unity", and does not rely on too grotesque narrative techniques, which is not comparable to Mulholland Road.
5. Bergman has the potential to make cult films, which can be seen in the early 1940s films.
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