Un hombre que se ha divorciado recientemente conoce a una viuda devastada emocionalmente con la que inicia una aventura amorosaUn hombre que se ha divorciado recientemente conoce a una viuda devastada emocionalmente con la que inicia una aventura amorosaUn hombre que se ha divorciado recientemente conoce a una viuda devastada emocionalmente con la que inicia una aventura amorosa
- Dirección
- Guionista
- Elenco
- Premios
- 3 premios ganados y 7 nominaciones en total
- Narrator
- (voz)
- (sin créditos)
- Woman in Dream
- (sin créditos)
- Police Officer
- (sin créditos)
- Woman in Dream
- (sin créditos)
- Woman in Dream
- (sin créditos)
- Verner's Wife
- (sin créditos)
- Woman in Dream
- (sin créditos)
- Katarina
- (sin créditos)
- Johan's Sister
- (sin créditos)
- Police Officer
- (sin créditos)
- Woman in Dream
- (sin créditos)
- Dirección
- Guionista
- Todo el elenco y el equipo
- Producción, taquilla y más en IMDbPro
Opiniones destacadas
But I liked it, I really liked it. I didn't find it as 'slow' as much as 'focused,' where even the twitch of an eyebrow or a glance to the left is an action. This minuteness was truly amazing. In a lot of ways it reminded me of Bresson's Journal of a Country Priest. Because of this minuteness, I also found it very cruel and raw. I am particularly thinking of the scenes with the animals (not only the sheep, but the dog as well, and especially the bird).
And I have to say something about the colors. They were amazing, so warm and so different from the narration, which was in itself detached and indifferent (maybe 'disinterested' is a better word). The light was amazing (like what seemed like an eternal sunset when Eva and Andreas have dinner). If this were a painting I suppose it would be realist or naturalist work, but the way the interviews cut in make it hyper-realist. Other reviewers have criticized this but I found it as adding depth to the characters, because it gave them a new, real, life.
The English title is misleading though, because it forces the viewer to focus on Anna, whereas the original title doesn't do that. I found myself waiting for things to happen to Anna until I found out that there was no reason for that to happen.
I am very happy to have seen this, and will definitely not shy away from watching more Bergman movies.
The topics touched on in this film include isolation, truth in relationships, mob mentality, but most importantly isolation from an emotional point of view. The interviews with the actors that are spliced into the film provide insight as well as divisions between sections of the narrative.
Perhaps what I liked best, however, is the inventive way the script reveals elements of the story. Sometimes a voice-over provides necessary information, and other times the information comes through the characters' conversations -- but never in an annoying "quick exposition" kind of way. For example: Although the affair between Anna and Andreas is the central story, it shows up in an odd place in the film.
But that is just one of the examples of the unusual construction that makes this film so unique and masterful. I recommend this to anyone who can read subtitles.
He uses improvisation with his actors in some scenes, experiments with what's in the story and what's outside of the story (it's self-conscious but good self-conscious, similar in tune with Persona's self-consciousness of a film being made outside of what's in the story), and deals away with his classic themes of despair, self-drought, and inner-maelstroms. And, indeed, the theme of deconstruction of the soul is in focus. For a couple of moments some of the self-consciousness could come off as distracting, or at most dangerous boring, but there are counter-weights to balance out whatever troubles Bergman must've had that he's pouring out onto the celluloid.
While I thought the Passion of Anna wasn't one of Bergman's very best works, it has a story and characters (and with a cast that doesn't do wrong within any given scene) that remain as potent as in his masterpieces. The sub-plot involving the slaying of the animals on the island maybe could've been developed more, but that too brings a thought-provoking backbone to the central characters. At the core, Bergman's presenting the audiences with people who are in a hell-ish situation, with fires and blood being spread along the fields, and that these people feel more or less stuck here.
The relationship between Andreas (Von Sydow) and Anna (Ullman) is the strongest asset to the film, and for their performances it's nearly worth it enough to rush out to buy the DVD. But beneath that, this is a Bergman film that could grow on a particular viewer over time. Maybe upon a first viewing, at least for what I came away with, the style may be trying to one-up over the substance, and that could be what hinders this from being a magnificent work of art on the level of Persona or The Seventh Seal. However, it's also holds subtleties to the craft, to the compositions by Sven Nykvist, and in the emotions conveyed by the principles of the cast.
Pretty haunting, evocative, though not entirely perfect, this is definitely an intriguing Bergman entry. Grade: (strong) A-
Where are the contemporary films to match such genius, where are the voices to guide us through the fog?
¿Sabías que…?
- TriviaThis film, commonly known as "En passion" (or "The Passion" aka "The Passion of Anna"), has an actual on-screen title of "L 182".
- Citas
Anna Fromm: Andreas, we should travel somewhere. We should get away from here. I know it would be good for us both.
Andreas Winkelman: When you speak of traveling, I really want to say yes.
Anna Fromm: What are you thinking?
Andreas Winkelman: That we can speak to Elis. He can lend us money. But at the same time a wall appears. I can't speak. I can't show that I'm happy. I can see your face, I know you're you, but I can't reach you. Do you understand what I mean?
Anna Fromm: I understand what you mean. I understand very well, Andreas.
Andreas Winkelman: I'm on the outside of this wall. I put myself on the outside. I fled and now I'm so far away.
Anna Fromm: I understand, Andreas. I understand how strange it seems.
Andreas Winkelman: Yes, it's strange. I want to be warm, tender and alive. I want to break free. You understand, don't you?
Anna Fromm: It's like a dream. You want to move, you know what to do, but you can't. Legs are impossible and arms heavy as lead. You want to speak, but you can't.
Andreas Winkelman: I'm terrified of being humiliated. It's constant misery. I've accepted the humiliation and let them become part of me. Do you understand what I mean?
Anna Fromm: I understand what you mean. I understand you.
Andreas Winkelman: It's terrible not being fortunate. Everybody thinks they have the right to decide over you. Their benevolent contempt. A momentary desire to trample something living.
Anna Fromm: I understand, Andreas. You don't need...
Andreas Winkelman: I'm dead, Anna. No, no, I'm not dead. No, that's wrong. Too melodramatic. I'm not dead at all. But I live without self-respect. I know it sounds silly - pretentious - since almost all people are forced to live without self-worth. Humiliated to the core, stifled and spat upon. They just live. They know nothing more. They know no alternative. Even if they did, they would never reach for it. You understand? Can you be sick from humiliation? Is it a disease we're all infected by and we have to live with? We talk so much about freedom, Anna. Isn't freedom a terrible poison for the humiliated... or is the word "freedom" only a drug the humiliated use in order to endure. I can't live with this. I've given up. Sometimes it's almost unbearable. The days drag by. I feel like I'm choking on the food I swallow, the crap I get rid of, the words I say. The light - the daylight which comes every morning and yells at me to get up. Or the sleep which always brings dreams, chasing me back and forth. Or just the darkness rattling with ghosts and memories. Has it occurred to you, Anna, that the worse off people are, the less they complain? Eventually they're silent... even though they're living creatures with nerves, eyes and hands. Massive armies of both victims and executioners. The light which rises and sinks heavily. The cold approaches. Darkness. The heat. The smell. And everyone is silent. We can never leave this place. I don't believe in escape. It's too late. Everything's too late.
- Versiones alternativasThe Criterion Collection DVD and Blu-ray have the additional opening Criterion and Janus Films logos plus the 2016 restoration disclaimer.
- ConexionesFeatured in Liv Ullmann scener fra et liv (1997)
- Bandas sonorasAlways Romantic
Performed by Allan Gray
Selecciones populares
- How long is The Passion of Anna?Con tecnología de Alexa
Detalles
Taquilla
- Total a nivel mundial
- USD 1,814