Las mejores intenciones

The winner of the Palme d'Or in 1992, The Best Intentions gave Danish director Bille August his second win of the highest award of the most prestigious film festival in the world, for a film Ingmar Bergman had written. Bergman himself never won the award and didn't direct The Best Intentions, even though he was still directing two decades after his fictional retirement with Fanny and Alexander (1982). If most people in English-speaking countries have never heard of The Best Intentions, there may be a reason- the vast majority would find a three-hour, subtitled unhappy marriage drama unappealing and boring. To some, however, there is a lot to recommend here.

The film touches on issues of faith, the role of church in a changing society, a deteriorating marriage- many topics of which appear throughout Bergman's filmography. A priest struggles on the outskirts of the world in a small community, believing he might do some good, but his wife is deeply unhappy. There are some conflicts with locals who do not like him, including for renting out the church for socialist meetings. Henrik himself is no saint, not particularly deep, sometimes violent against his wife- aspects we see of him as the fictionalized Edvard in Fanny and Alexander. But here we see him suffer a lot more, and it inspires sympathy. Edvard also suffers and I felt sympathy for him too, but Fanny and Alexander is not his film. In a way, The Best Intentions feels like both Ingmar's criticism and reconciliation with his deeply flawed parents.

The Petrus subplot also inspires sympathy and shock- the running to the stream scene is by far the most intense part of the film. It's definitely worth a mention, even if it makes a small part of the running time.

It is the very honesty and intelligence that I find so beguiling and compulsive about the now, late Ingmar Bergman, and this being the life- story of his parents. Sounds great, doesn't it? Like the vast majority I was veered toward the Great Swede director via The Seventh Seal and it surprises me still, that not only did I find time for all his lesser, more ordinary and sometimes rather depressing films, I was after everything he made and associated with. The only other three directors I have vowed to do this for are/were Federico Fellini, Stanley Kubrick and Billy Wilder.

'Normal' period drama i.e. British, probably because it's so commonplace and accepted and even pushed upon us - if we didn't watch Downton Abbey on TV, we felt almost chastised! doesn't move me much, possibly because by now, most of the popular novels and adaptations have been re-done so many times. However, I find it rather calming and enjoyable to look through the eyes of 19th C Swedish middle-class family life and as such, Bille August's direction and period detail is never less than 100% convincing.

The picture quality of the DVD is excellent, subtle yet full of life and texture. The ratio fills a standard widescreen format, so you get all of the picture. Compared to the rather poor transfer I have of Bergman's Scenes From A Marriage, this is near perfect. The score is simple yet sympathetic, too.

Bergman stalwart Max von Sydow is perfect as the grandfather and Permilla August (the director's wife) as Anna Bergman, to be Ingmar's mother. In some ways it helps to know of - and appreciate - the genius, yes, genius, that the couple went onto bear, but not essentially so as the story of young love but disapproving parents and society is a such a universal one that in fact it can be enjoyed by everyone.

Lastly, whilst I'm not complaining, my DVD is clearly marked as a 'PG' yet there is female topless nudity and subsequent mild sex scenes that's quite prevalent, especially near the start. Whilst children are very unlikely to watch this, especially alone, parents should know of this and whilst '15' is possibly too strong, especially for a more relaxed European film, a '12' would be more appropriate.

An intelligent, very well made story of love and conflict across a number of years in early 20th century Sweden.

Written by Ingmar Bergman, it feels like one of his films, if perhaps slightly less brilliantly realized.

But the complex love and marriage of Henrik and Anna is always absorbing (if occasionally melodramatic), and these are both complicated, full individuals (and performances) heartbreaking one moment, infuriating and selfish the next.

Beautifully shot, acted with honesty and intensity, this 3 hour film captures just how hard it is for two people to be both themselves and a couple.

When you are an admirer of Ingmar Bergman, like me, this film is the best choice. Not only as reflection of his spirit. Not only for the performances and lovely use of melodrama. But for something escaping to definitions. The atmosphere, the portrait of marriage in the first half of XX century Sweden. And more. It is a film about happiness of the other , yourself being only a tool for it. A film about sacrifices and love and mission and fundamental choices. A film about a world, remembering Fanny och Alexander , being, at the level of tone, more sweet but remaining interesting, for the impressive cinematography, than for precise adaptation .

"On one hand, Henry is too conceited to seek the middle ground, having been at the receiving end of humiliation for too long, he is righteous, headstrong, aloof and even a ghost of callousness can be sensed from his clash with a local fat cat Nordenson (Hjulström), which sounds rather personal, not to mention getting steamed up after an audience with Queen Victoria of Sweden (Björk). In his petty heart, he cannot tolerate disagreement. Fröler, always looks somewhat miffed with his perfectly trimmed mustache, refines Henry's wounded dignity with a mask of impassivity, which becomes his defense mechanism towards the world both inside and outside, his feelings for Anna is genuine, but he also resents her for putting him through the wrangler before tying the knot, and when he cannot stand her rich girl's temperament, he simply lashes out, the shouting match inside the chapel relating to their pending wedding arrangement is among one of the most candid and riveting squabbling scenes ever filmed and performed, it is Bergman's perspicacity and the two crackerjack sparring partners at work."

read my full review on my blog: Cinema Omnivore, thanks.