Nahe dem Leben

Undervalued Bergman film whose themes are pregnancy and birth. I've never seen these subjects discussed in a film with such lucidity. Three women in various states of pregnancy are in a hospital room together. We are first introduced to Ingrid Thulin, who is only a few months pregnant. She has come to the hospital because she has had a hemorrhage. She loses the fetus, which gives her a new view on her relationship with her husband (Erland Josephson). One of her roommates, played by Eva Dahlbeck, is nearing the end of her pregnancy. She has a loving relationship with her husband, and they cannot wait to have their child. The third roommate is Bibi Andersson, a young, single woman who has had an abortion before. She doesn't want this baby, either, but neither does she want to have another abortion. Childbirth really is a frightening thing. Even if the woman has a man, she is alone within herself when the event happens. I think this may be one of Bergman's best films, although the poor quality of the video harmed its effect quite a bit. It had white subtitles, and, since the entire film takes place in a hospital, you could imagine that the white hospital gowns and sheets and such really block the subtitles a good amount of the time. There were certainly some major bits of dialogue that I had no chance of understanding. I eagerly await a proper DVD release, although I'm not going to hold my breath. The three actresses are absolutely brilliant, especially Bibi Andersson, who definitely gives one of her best performances.

'Brink of Life' (aka. 'So Close to Life') is a gripping, fairly early minor work from quite possibly the most consistently rewarding film maker of emotional drama that ever lived.

Three women from very different worlds find themselves in the same maternity ward, confronting different dilemmas in the face of the human race's oldest routine.

While Bergman's films are almost always bleak portrayals of suffering and confrontation, his films also remind us that suffering can be as fleeting as happiness; despair can be replaced by strength, just as certified happiness can face unexpected disaster. There is a comfort in his sadness, a powerful reminder of existence, even when it hurts.

Bergman favourites are featured: the always incredible Ingrid Thulin shines, as does Bibi Andersson in the role of a confused and insecure young unmarried mother-to-be. Eva Dahlbeck perhaps steals the show with her portrayal of trauma.

This film is one of the most important of all those that I have seen in my movie going, spanning fifty years, for it was the first Bergman film I saw in the early sixties at Auckland's only cinema for foreign films. I was struck by its humanity, by its clear eyed view of what it is to be human. Not only did it open up the whole body of Bergman's subsequent work, but I saw the themes first explored in this film deepened and enriched (with a few disappointments to be sure) throughout his career. I first learned here that more difficult and challenging films keep giving long after they have been first seen. Those who say Bergman is gloomy and depressing, all I can say is that the MOST depressing experience in the cinema EVER for me, was being persuaded to join a group of people "just for a laugh" to see the truly execrable "Sex and the City 2" Compare the insulting view of women in that piece of rubbish with this gem.

This movie is fairly straight forward, with women in various situations facing childbirth.

What transforms this movie is the astonishing performances that Bergman is able to obtain from the actors. It's something that is so frequent in the first half of his career. There's something vibrant and remarkable, that transcends plot. You can see why he became so famous. Very few directors seem to be able to obtain such spontaneous performances from their actors.

Like so many of his early films, there's not much here that you might not see in the theatre. Yet it has such remarkable life to it.

Maybe this isn't the deepest film of Bergman - or the most spectacular film visually - but there is something with this movie that I like. Maybe that's the stripped and easy settings, that's differently in comparison with other films directed by Bergman, or maybe that's the three interesting women's stories - that the film is about - that touches me.

And maybe Bergman knew that. Maybe he knew that films about pregnancies and all that concern about that, touches people. Maybe he knew that it was an excellent idea to directing a film, that takes place in some gloomy hospital wards - for the gloomy settings, leaves space to a film that entirely focus on three - more or less - wounded souls.

Maybe he knew that. Maybe he knew that it was the way to a masterpiece.