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 Såsom i en spegel [Through a Glass Darkly] 

What grade would you give this film?
A 75%  75%  [ 3 ]
B 0%  0%  [ 0 ]
C 25%  25%  [ 1 ]
D 0%  0%  [ 0 ]
F 0%  0%  [ 0 ]
Total votes : 4

 Såsom i en spegel [Through a Glass Darkly] 
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Post Såsom i en spegel [Through a Glass Darkly]
Through a Glass Darkly

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Through a Glass Darkly (Swedish: Såsom i en spegel) is a 1961 Swedish film written and directed by Ingmar Bergman, and produced by Allan Ekelund. The film is a three-act “chamber film,” in which four family members act as mirrors for each other. It is the first of many Bergman films to be shot on the island of Fårö.

The title is from a biblical passage (1 Corinthians 13) in which seeing through a glass darkly refers to our understanding of God when we are alive; the view will only be clear when we die. The title literally means As in a Mirror, which is how the passage reads in a 1917 Swedish translation of the Bible.

Bergman described Through a Glass Darkly as a “chamber film,” an allusion both to the chamber plays of Strindberg (Bergman's favorite playwright), and to chamber music in general. In line with the “chamber” theme, the film takes place in a single 24-hour period, features only four characters and takes place entirely on an island.

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Sat Jan 31, 2009 3:29 am
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loyalfromlondon
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Post Re: Såsom i en spegel [Through a Glass Darkly]
Really liked this one.

It's a huge step forward in Bergman's career, in that he progresses past archetypal morality tales and "journey" films into his so-called chamber dramas. There's no grand, overarching voyage undertaken by the characters of the film - no search for meaning, no catalytic events. It's just four people on an island, one of them insane, spent over one 24-hour period as they act as foils for each other and reveal their own beliefs and thoughts about God. And it's totally hypnotic.

Sven Nykvist became Bergman's cinematographer for good on The Virgin Spring, but it's here where his amazing talent is truly fleshed out and made apparent. The clash between the dark, shadowy interiors and the cold, grey exteriors is stunning, as is the manner in which Nykvist photographs Karin as she steals away to the attic to partake in her insanity. It's not as Gothic or expressive as in Bergman's previous films, but it's stark and beautiful and very, very effective.

And of course, Harriet Andersson is at it again, perfectly capturing the fragmented mind of Karin without falling (too much) into hysterics or hand-wringing. Of the two Anderssons, she's definitely my favourite.

Plus, Bergman the writer is at the top of his game, sufficiently capturing the essence of the film without spelling it out for us. I often think Bergman's writing is too on-the-nose, but not here.

One of my faves from him.

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Wed Feb 04, 2009 4:01 pm
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Post Re: Såsom i en spegel [Through a Glass Darkly]
I would argue it is all a search for meaning, albeit one conducted in entirely different means and circumstances from Wild Strawberries/Seventh Seal. It really is a thing of beauty. His device of mental illness as a construct to make criticisms of religion and ponder god is brilliant even by Bergman standards and the cinematography is as breathtaking as Cries and Whisper's. One thing that is not given enough attention in Bergman films, imo, are the actors. Themes and Messages are the primary focus in his films, but they do not come at the sacrifice of brilliantly wrought and acted characters (which is what makes his films so special.) His ruminations on religion, sanity, and compassion are perhaps more beautifully delineated here than any other film (even Fanny och Alexander). It is not quite as great as that or, Cries and Whispers, however it is a marvelous film, and perhaps am appropriate starting point for anyone who does not know Bergman.

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Mon Apr 12, 2010 2:28 am
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