A blog formerly known as Bookishness
By Charles Matthews"Dazzled by so many and such marvelous inventions, the people of Macondo ... became indignant over the living images that the prosperous merchant Bruno Crespi projected in the theater with the lion-head ticket windows, for a character who had died and was buried in one film and for whose misfortune tears had been shed would reappear alive and transformed into an Arab in the next one. The audience, who had paid two cents apiece to share the difficulties of the actors, would not tolerate that outlandish fraud and they broke up the seats. The mayor, at the urging of Bruno Crespi, explained in a proclamation that the cinema was a machine of illusions that did not merit the emotional outbursts of the audience. With that discouraging explanation many ... decided not to return to the movies, considering that they already had too many troubles of their own to weep over the acted-out misfortunes of imaginary beings."--Gabriel García Márquez, One Hundred Years of Solitude
Tuesday, April 12, 2016
Persona (Ingmar Bergman, 1966)
Cries and Whispers (1972), and that largely because Bergman had by that time realized that innovation could be a dead end and that concentrating on story and character without cinematic tricks was all that was needed to make a successful film. The core of Persona lies in the fascinating, ever-shifting relationship between the mute Elisabet and the garrulous Alma, and we don't even need the sequence in which the images of the two actresses merge into one to get the point. It's sometimes said that the film works because Andersson and Ullmann look so much alike, but they really don't. Andersson has a kind of conventional prettiness: As I noted in my entry on The Devil's Eye (Bergman, 1960), she could almost pass as the heroine of a 1960s American sitcom like Donna Reed or Elizabeth Montgomery. Ullmann has a stronger face: a more determined gaze, powerful cheekbones, a fuller, more sensuous mouth. The two women could not have exchanged roles in the film without a serious disruption in their relationship: Even though she's three years younger than Andersson, Ullman has to play the mature, successful actress, and Andersson the eager young nurse. What gives their relationship in the film its marvelous tension is the sense that Alma is imbibing, in an almost vampiric way, the strength that Elisabet possessed before her onstage breakdown. Part of me wishes that Bergman had had the conviction to tell the two women's stories without the narrative gimmicks, but another part tells me that Persona has to be judged for what it is, and that it's one of the great films.