La Honte

I watched this movie on a big screen a few months ago. I didn't know what to expect precisely, and for the first ten minutes I feared I might not enjoy this film. It was beginning very slowly, in silence and almost banality, which was all the less exciting as the sound was quite bad and the subtitles sometimes impossible to read.

But I definitely do not regret to have gone on watching it. It is one of the most beautiful Bergman movies I've ever seen, at the same time human, ruthless and psychologically so convincing.

Seldom have I seen actors play so wonderfully, with such an intensity on their faces : Liv Ullman's interpretation is unforgettable and Sydow is excellent too.

There is always psychological violence in Bergman movies, and this one may be the most physically violent of them all. The strained relationships between the man and the woman evolve in parallel with the physical violence that is surrounding them...

Finally, this sober, violent and powerful film contains a surprisingly striking human depth. An excellent Bergman.

"Shame" ("Skammen") (Swedish, 1968): Definitely one of Ingmar Bergman's masterworks, with cinematography by Sven Nyquist (who did most of Bergman's, and some of Woody Allen's films). "Shame" is less symbolic than some of Bergman's works, and, an intense, psychological study of a married couple, Jan and Eva, (Max von Sydow & Liv Ullmann) who have their personal problems like anyone else, but suddenly find their otherwise quiet Swedish island life completely upset by a civil war. Faced with increasing losses and degradations, we watch them struggle not only against circumstances, but their own psyches. The number of "shames" depicted is huge. This story may have influenced Lina Wertmuller's film "Swept Away". Just a guess. "Shame" is an ULTIMATE in gorgeous b/w photography, and ugly psychological horror.

Bergman's Skammen is one of the most realistic depictions of war ever set to film. This is not an action film by any means, though the pacing is faster and there is most action than in most any other Bergman movie. Nor is this a romanticisation of war or patriotism, unlike most war movies. In fact, the gritty realism and the deliberate ambiguity of the character's loyalties has a very contemporary feel.

Skammen is a darkly lit movie, that should be watched at night, so as to let it work it's magic. Many of the effects are conveyed indirectly, but so effectively that some scenes compete in intensity to a contemporary, insanely huge budget film like Saving Private Ryan. Of course, the action in Skammen is on a much smaller scale but it is impressive none-the-less.

While the film-making style feels contemporary, the setting of the film feels timeless and placeless. The war-torn countryside, and even the yet intact provincial hamlet could be anywhere, any time. And this film is not so much about specific historical events, with specific names and dates, but about universal human reactions to adversity and chaos.

The acting in Skammen, though typically impressive from Ullman and Sydow, is not of primary importance in this film, unlike most other Bergman movies. Through much of the film they are spectators, much as we are. Bergman has the war imposed on them, and through them on the audience, and their reaction is perhaps what any of our reactions might be.

Highly recommended. 10/10

When Liv Ullman's character says, "I feel like I'm in someone else's dream and they're going to be ashamed when they wake up," she is referring not only to being an unwilling player in society's war games, she is referring to being an ignorant participant in life itself. At the film's end, when she says that she had a dream that she had a child and she was trying to take care of it, but she forgot something else, the implication is that she has forgotten what she has learned in the war she's just survived, that like her own mother before her, she will be unable to pass on any vital lessons to her own child. And, therefore, the cycle of the shame of ignorance will continue...ad infinitum...

A gruelling watch, but one of Bergman's finest films. Interesting to compare this with The Hour of the Wolf, as both feature the same lead actors as artists (or an artist and his wife) who have taken sanctuary on an island. In the earlier film it's largely inner demons that lead to von Sydows disintegrating personality (at least that's how I read it) whereas here it's very much circumstances beyond his control.

Much has been written about the unsympathetic central characters, particularly von Sydow's. For me there are flashes of a good (if flawed) man early in the film, but one who copes badly with adversity. The flaws become all that is left as his humanity is gradually eroded by one horror after another.

I watched A Passion (Ullmann and von Sydow on their island again) soon after this, and was amazed to recognise many of the same locations. And then there's a dream sequence...