Secretos de mujeres

I am a great admirer of Ingmar Bergman, Sweden's greatest director, and his films. Waiting Women(or Secrets of Women) is not one of his very finest, but it is one of his most underrated. Perhaps it is a touch overlong and episodic, but compared to everything else on display they are entirely forgivable. Bergman's direction is polished and never detached, while the film looks beautiful and is photographed every bit as strikingly. The music is hauntingly understated, the right approach for the story Waiting Women is conveying, while the writing is splendid(as is the comic finale) especially in the elevator sequence. The three stories that form the film are done in a heart-warming yet sincere way, the first is a tad clichéd and probably the weakest of the three but still does its job well, while the second story was the one with the most heart and the third was the one with the most pleasantly funny moments. What really matters is that all three had subjects that anybody can identify with and dealt with them realistically. The characters weren't the most likable on the planet, nor were they intended to be. That said, I wasn't annoyed or frustrated by them. All six leads give deeply felt and believable performances, Eva Dahlbeck and Gunner Bjornstrand are particularly note-worthy. Overall, while not one of Bergman's best it is one of his more underrated films and is very well done. 9/10 Bethany Cox

See it. Lyrical, beautifully shot, quietly hilarious in spots, this film is seldom screened. Perhaps more than his better-known works, this film showcases Bergman's love of women. Bjork, Dahlbeck and especially Nilsson are adoringly photographed; this is passionate young Bergman. A delight.

Four sisters-in-law sit around a table and tell each other stories of how they fell in love.

It's Ingmar Bergman's first comedy and that's probably why this particular film appealed to him, with its anthology structure. Bergman assembled his usual flawless cast and gave them roles they sink themselves into, with a gradually ascending level of hilarity in the four. Yet like all good comedies, like all good stories, it has a serious, if not particularly solemn statement to to make: love isn't one thing to all people. It's different for every human being.

Gunnar Fischer's black-and-white cinematography is lush and romantic. That's something modern audiences don't understand: black and white photography is more romantic than color, because it hides more; by reducing vivid life to mochmatic mages, it engages the viewer, forcing him or her to imagine, to invest effort into the viewing, and thus engage in the creative process. Bergman knew this, and with the help of his fine cameramen, brought this to life.

Sisters in law do reveal, why married life's so far from ideal, their journeys to (some) contentment, established often on resentment (from them or their partner or both), and how it's left a mark and how they feel. Rakel had an affair with her best friend, Marta caught a child and so was penned, Karin got a confession, Annette mild depression, and Maj, aims to become them in the end.

Rejoice that the worlds we live in today, in at least some parts of the planet, have holes in their nets big enough for the trapped to escape and forge futures for themselves, unburdened by tradition and past practices.

A very beautiful film by master Ingmar Bergman. Four women, all sisters-in-law, await their husbands in a house on an island. They converse, and soon begin to tell each other the big stories of their lives. The first tells how she had an affair with her teenage sweetheart and how her husband reacts. The second tells of how she was seduced and became pregnant. And the third tells about how she once got her husband to admit his philandering when they were stuck in an elevator. Meanwhile, in the framing episode, a younger sister of one of the women has fallen in love with the fourth brother. The first and third stories are a little cliched, especially the elevator sequence, but they're still quite great. Being trapped in an elevator is a nice, easy, and overused way for two characters to solve problems, but the dialogue between Gunnar Bjornstrand and Eva Dahlbeck is so excellent that it works out wondefully. The heart of the film is in the second story. It's so simple and well-done, so utterly beautiful in its conception and execution. It is, of course, a flashback, like the other two stories, but the story itself is also told in flashbacks. It works far better than I would have ever guessed. Secrets of Women is an underrated Bergman film, a must-see for any fan. 9/10.