Fanny and Alexander (1982)
(Fanny och Alexander)
Country: SV/FR/GER
Technical: col 188m
Director: Ingmar Bergman
Cast: Gunn Walgren, Ewa Froling, Jarl Kulle
Synopsis:
A brother and sister enjoy an exuberant Christmas with their extended family, but when their father passes suddenly their mother remarries a strict and ascetic Protestant priest.
Review:
Bergman's first 'farewell' to the cinema was, like many of his later films, made for television (five episodes). Like Visconti's The Leopard and Cimino's The Deer Hunter it begins with a long family celebration, incidentally featuring autobiographical material concerning Alexander's fascination with proto-cinematic devices. We also have one of the great villains of Bergman's cinema (of whom there are few), shedding light on his conflicted faith in God.
(Fanny och Alexander)
Country: SV/FR/GER
Technical: col 188m
Director: Ingmar Bergman
Cast: Gunn Walgren, Ewa Froling, Jarl Kulle
Synopsis:
A brother and sister enjoy an exuberant Christmas with their extended family, but when their father passes suddenly their mother remarries a strict and ascetic Protestant priest.
Review:
Bergman's first 'farewell' to the cinema was, like many of his later films, made for television (five episodes). Like Visconti's The Leopard and Cimino's The Deer Hunter it begins with a long family celebration, incidentally featuring autobiographical material concerning Alexander's fascination with proto-cinematic devices. We also have one of the great villains of Bergman's cinema (of whom there are few), shedding light on his conflicted faith in God.
(Fanny och Alexander)
Country: SV/FR/GER
Technical: col 188m
Director: Ingmar Bergman
Cast: Gunn Walgren, Ewa Froling, Jarl Kulle
Synopsis:
A brother and sister enjoy an exuberant Christmas with their extended family, but when their father passes suddenly their mother remarries a strict and ascetic Protestant priest.
Review:
Bergman's first 'farewell' to the cinema was, like many of his later films, made for television (five episodes). Like Visconti's The Leopard and Cimino's The Deer Hunter it begins with a long family celebration, incidentally featuring autobiographical material concerning Alexander's fascination with proto-cinematic devices. We also have one of the great villains of Bergman's cinema (of whom there are few), shedding light on his conflicted faith in God.