Depois do Ensaio

I may be biased though as I love and admire Ingmar Bergman. After The Rehearsal mayn't be among Bergman's very finest films, but it does deserve to be much more regarded as just a minor work. It could have done with being longer perhaps but all the things that make a Bergman film work are here. The cinematography from none other than Sven Nykvist is tight and helps to intensify After the Rehearsal's intriguing drama, while the setting looks beautiful yet realistic. Bergman as he always did directs with discipline, never once is there a sense that his heart was not in it. The scripting is intelligent and provokes a lot of thought, likewise the story is insightful in regard to art and emotion- I always admired how ambitious the themes in his films were- and almost autobiographical in structure. I have seen and heard people remark that they were indifferent to the characters, now the characters in Bergman's films are not always that likable but considering how realistically compelling they are(especially the women) you do get the sense that they weren't meant to be. Adding to this is how superbly acted After the Rehearsal is, you get that expectation seeing as we are talking about some of Sweden's finest ever actors and never here are you disappointed. All three leads, very hard to single out a standout, are really captivating and immerse themselves totally into the characters. All in all, very, very good. 9/10 Bethany Cox

This is a brilliant work of art - it manages to be both an outstanding piece of theatre captured on film and an equally engaging film about theatre. There is no plot in a conventional sense, and absolutely no action. Instead, Erland Josephson, utterly convincing in his role as an aging theatre director, quietly and with ruthless honesty interacts with both his current new star and an actress from his personal and professional past. During this interplay, the director on the screen (speaking for the director behind the camera?) explains his love for actors and the theatre, while simultaneously modeling and undermining the sense of alienation that he feels he needs to have in order to get his job done in this world that he loves. At the same time, his young star examines her reasons for acting, and the woman from his past presents yet another take on the function of theatricality.

The dialogue is, as always with Bergman, perfect; the film is saturated with ideas; and the simple stage where every moment of the film takes place works in two directions at once, reminding us that we are watching a performance even while it insists we are also seeing "real" people at work.

Bergman is always amazing in his ability to express, in films that are set in singular specific locations, deep emotions and concepts that are nonetheless universal - in this film he gives us a little bonus, an insight into the motives behind manufacture of representation itself.

Here's a bit of an odd confession. I'm starting to like this Ingmar Bergman guy. Mind you, I've only seen two of his films (the other being Cries and Whispers) but he knows how to make a film, let me tell ya! After the Rehearsal is a great movie that makes you think, while marveling how clever the whole thing is. A theater director (played by Erland Josephson) is putting together a production called "The Dream Play". One of his actresses (Lena Olin) stays behind to talk to him about past experiences, his life and hers, and other existential topics. He does the same. A little while later an older actress comes on the scene, and essentially talks the same talk, only a little older but definitely not wiser. The interesting thing about this is, is that both women don't acknowledge the other.. So what's that about? Was this the same woman, only years later? Did these women exist at all, or are we indeed watching a "dream play" already? So many fascinating theories, I love it when a movie does that to me. The movie somewhat lags during the third act, but let me tell you, Bergman KNOWS how to end movies, like in Cries and Whispers and this one, it leaves some questions unanswered for us to figure out by ourselves, and Bergman seems to rejoice yanking us away from the story to go to the credits, which is great.

I want to see more! I will see more! Yay!

This is only my second Ingmar Bergman viewing, the first being the magnificent "Seventh Seal", which left me with a long lasting impression. Perhaps it is not fair to compare this little ditty to the impressive, thoughtful epic that was the former film, but it was with such unrealistic expectations that I started watching "After the Rehearsal".

Unfortunately, I left the film disappointed and indifferent. The plot revolves around an aging play director's relation to his young lead actress, and concerns itself with acting, the personal relations of people in the profession, parenthood and estrangement. Alas, I'm afraid even my simplistic presentation makes the film sound far more interesting than it really is. In the end, "After the Rehearsal" only amounts to a monotonous (if articulate) study of romantic and interpersonal manipulation. I suppose viewers interested in acting and the theater might find something of interest in this movie, especially concerning the issues of what it means to act and direct, and how it affects persons of the field.

Personally, however, I was not engaged at all to the characters' petty personal issues, nor could I project parallels to issues larger than their own particular microcosm from their mundane -if eloquent- verbal sparring. If the "Sevent Seal"'s characters could be likened to those of Dostoyevsky's literature, "After the Rehearsal"'s protagonists would be more similar to Oscar Wilde's aestheticists and their monologues. Who do you prefer?

I've always said that I could never choose a favorite filmmaker, but that if I had to, it would be Ingmar Bergman, for certain. A bit of a contradiction, I admit, but there you have it. For me, he is the grandmaster of the cinema. I've seen exactly forty of his films, and "After the Rehearsal" may be the greatest of them all.

Of course, that depends very much on your tastes. We see here a very different Bergman from the one many viewers are accustomed to. There are, after all, two Ingmar Bergmans: First, we have Bergman the magician, the cinematic sorcerer who made films like "The Seventh Seal" and "Persona". Secondly, we have Bergman the realist, emerging during the latter period of his career, with films like "Scenes From a Marriage" and "Autumn Sonata". These films aren't quite realism, of course — they're still very formal — but they're certainly very stripped-down and minimalistic by comparison.

"After the Rehearsal" is probably the most extreme example of this latter category of Bergman's cinema. It is a minimalist exercise in what is essentially filmed theater. As a result, those looking for the kind of cinematic wizardry that Bergman displayed in so many of his films up through the '60s (and which he revived for "Fanny and Alexander" in 1982) may be a bit disappointed by this film, strictly in aesthetic and stylistic terms. Nyqvist's cinematography is absolutely masterful, as always, but it's masterful in the same way it was in "Scenes From a Marriage" — unrelenting close-ups of the frail human condition, et cetera — versus the kind of technical and formal mastery he displayed in "Fanny and Alexander" or Tarkovsky's "The Sacrifice". This is a low-budget, theatrical production, so don't expect a grand tour de force of Bergmanian cinema.

On the other hand, when it comes to content, that's exactly what "After the Rehearsal" is. It offers the most insightful, profound exposition yet of Bergman's identity, essence, and point of view as an artist, as a filmmaker (and as a theater director), and perhaps most notably, as a human being. Every line, every word, every expression, every intonation, every gesture is a revelation of the most meaningful variety, for those who are familiar with Bergman and his way of expressing ideas. Never before has Bergman condensed so much thought, so many ideas and themes, into one film (and quite a short one at that). This is a concentrated exercise in subtextual expression, and on that note, I have two caveats to issue to those considering watching this film.

First, as we know, most audiences today don't like to be provoked toward thought, analysis, or self-reflection, so if you're turned off by the idea of watching two people talk for seventy minutes straight, save yourself the effort and skip this one. "After the Rehearsal", even more than normal for a Bergman film, requires the ability to think in thematic, subtextual, and metaphorical terms. Even for the most avid Bergman fans, and even by the strictest Bergman standards, this film requires patience and thorough analysis.

Secondly, I'm a firm believer in experiencing a filmmaker's body of work chronologically. I know many viewers don't share this compulsion, but I must stress that it is crucial for this film. "After the Rehearsal" is a deep and painstaking reflection on everything Bergman has ever done and everything he has ever been during the course of his long and illustrious career. If you haven't seen the vast majority of Bergman's previous work, this film will be impossible to fully appreciate.

Virtually all of Bergman's recurring themes are present in "After the Rehearsal", such as the idea of human beings as actors in this often shoddy, second-rate production that we call life. Bergman's characters engage in emotional dialogue or intensive introspection, and then, hearing the words come out of their mouths, they experience shame and mortification as a result of what they perceive to be their own playacting and histrionics, and so they subsequently backpedal over their previous statements with a tone of fatigue and despair. It's not just Bergman's characters, however, that exhibit this behavior. Bergman himself does it, from film to film. The first time we saw it was in "Prison" (1949), his sixth film, when he criticized himself in a moment of self-reference that cited a scene from "It Rains on Our Love" (I believe). Since then, and especially in his later work, it's been a constant for Bergman, although much more subtle and less explicit than it was in "Prison". In a way, it provides a metaphor for what Bergman does with "After the Rehearsal".

"Fanny and Alexander" is considered Bergman's swan song, and I suppose it is. He officially retired from cinema afterwards, and everything he directed since then, with the exception of "The Making of Fanny and Alexander", was a television film, including "After the Rehearsal", in which Bergman makes one last attempt to clarify himself, to backpedal on a career of directing films and plays, and to explain what it all meant, and what he has become in light of it.

"After the Rehearsal" is a highly self-reflexive, metatextual meditation on what it means to be a director. The power, the manipulation, the messy emotions and relationships with actors who often confuse the role they play in a film (or play) with the role they play in life. The two roles begin to converge, and at the helm of it all, there is Bergman, a man who is slowly but surely distancing himself from the world around him. The world of cinema. The world of theater. The world of life.

Ultimately, that's what "After the Rehearsal" is about. It's Bergman's explanation and exploration of the reasons why he has chosen to distance himself from the world of filmmaking, and it's brilliant for every moment of its 72 minutes.

RATING: 9.67 out of 10 stars