#Autumn sonata youtube movie#
As the movie plays out, she is called to account by her daughter, Eva, played by Liv Ullmann. As a young woman (and as a middle-aged woman, and as an old woman), she neglected her husband and daughter for the demands of her profession as a concert pianist. But Charlotte, like Norma Desmond, is both overtly theatrical and past her prime. (Of course Ingrid Bergman only looks a little overdramatic when compared to the cast of an Ingmar Bergman movie-to seem overdramatic compared to the cast of a Billy Wilder movie is a different thing entirely). Ingrid Bergman seems a little out of place, a little too theatrical, like casting Gloria Swanson in Sunset Boulevard. You know, Ingrid Bergman:Ĭasting a star like Bergman in a naturalistic drama like this one has a certain perverse genius to it, particularly in the part of Charlotte. Of course, half the reason that close-up is so hard to take is because that's not just any face, that's Ingrid Bergman. That wouldn't really play in theater, even on a very small stage. Which leaves out the dramatic power of a merciless close-up. Most of the time, when talking about the difference between film and theater, we're talking about things like camera movement or special effects. But he also has tools Strindberg never did. He even has his characters spend all night over a bottle of wine, like in Miss Julie.
Which Ingmar Bergman apparently has in spades.īergman takes a lot from Strindberg, from the Norwegian setting to the structure of steadily escalating secrets and revelations. Think about it: when's the last time you heard someone describe a movie as "Strindbergian?" People adapt Miss Julie for film every ten years, but writing something new in that vein takes a special kind of madness. What's more, Autumn Sonata's progenitors are not the kind of plays that people imitate for films these days. I can't remember the last film I saw that was so play-like.
Autumn Sonata has more in common with theater than film, from the limited number of locations to the soliloquies to the lengthy aside from Halvar Björk that begins the film. If it doesn't sound all that cinematic, it's not. That's the last exterior shot until nearly the very end of the film, however from here on out it's all interiors. They seem happy to see each other, and in the moment, they probably are. You would be forgiven for believing it to be much more sentimental from the opening sequence, a reunion between a mother and daughter. Philip Larkin doesn't get a credit on Autumn Sonata, but the movie does seem at times like it was adapted from " This Be The Verse." That's the one that starts like this: They fuck you up, your mum and dad.īergman's movie doesn't start with the same jolt Larkin's poem does.
#Autumn sonata youtube tv#
It was also her last theatrical release she would appear in only one more project, a TV movie about the life of Golda Meir, before her death in 1982.Autumn Sonata, 1978, written and directed by Ingmar Bergman. Herbstsonate, released in America as Autumn Sonata, earned Ingrid Bergman some of the most enthusiastic acclaim of her career she received an Oscar nomination for Best Actress, and she won the same honor from the National Board of Review and the New York Film Critics Circle. Charlotte, on the other hand, is uncomfortable with the fact that Helena now lives with Eva, and she is still coming to terms with the emotional devastation of her husband's recent death.
Eva resents her mother for not caring enough for her as a child, feeling that Charlotte was more interested in her career and her other daughter, Helena (Lena Nyman), who is severely handicapped and can only communicate through inarticulate noises. While Charlotte and Eva struggle to be civil, there is a deep emotional gulf between them. Charlotte (Ingrid Bergman) is an acclaimed concert pianist who is visiting her daughter Eva (Liv Ullmann), the wife of a parson in a rural community, for the first time in seven years.
Ingrid Bergman, the Swedish expatriate who became one of Hollywood's greatest stars, and Ingmar Bergman, one of the world's most acclaimed filmmakers and Sweden's most honored director, worked together for the first and only time in this intensely personal drama about the troubled relationship between a mother and daughter.
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