Cries and Whispers (1972)

the audience applauded

Clever, believable, and super fun to watch. It totally has replay value.

It's entirely possible that sending the audience out feeling lousy was intentional

Great movie. Not sure what people expected but I found it highly entertaining.

The first color film in Bergman's unique work is just to look at the color control in the scenes and decor. This is an unparalleled micro-graphic. Desperate and thoughtful masterpiece, which goes on to follow the filmmaker's view of human relationships, death and anxiety. It's a tragic moment to the film's beginning. It's a movie that's made up of dramatic effects, along with images of the hard and disturbing moments of the movie. It's a movie full of metaphors that comes in shape and color, meaning colors. And a symbol of something. The colorful metaphor in the cinema often and finally means for all cultures. In the film, all women wear white at the start. Backgammon consists of walls and floor carpets and part of the curtains, red and white, and are very tasteful. . Agnes, when he dies, wears white clothes, and places this black part on a red background. Bergman intelligently and with four characters provides a condition for metaphorical tale (Mariya refers to red as it is full of The passion and the youngest) When the family doctor arrives home for Agence's visit, Maria looks at Maria's tone of notice that there is a relationship between the two. The condition that the doctor drops from, but Maria does not. Maria allegory gets a passion for life. Carneville, an allegory of depression and frustrated excitement, seems to be a film about the fluency of Swedish women who refer to Bergman's feminist views and who have a great understanding of these issues, had the same look for Angelo Antonioni than Italian women With this view, each character is symbolized by women's morals (Anna is a symbol of innocence and anagnas, an allegory of oppressed love and an unplanned and early death)

If you're sick of the current trend of having movies use a mostly teal color palette with orange for the explosions, then this is the movie for you. Ingmar Bergman and his cinematographer, Sven Nykvist, use a palette of red, red, red, red, and red as a backdrop for their story of three sisters in circa-1900 Sweden. Agnes (Harriet Andersson) is dying of cancer, and her two sisters Karin (Ingrid Thulin) and Maria (Liv Ullmann) come to comfort her in her final days. Not that they're much comfort, since the whole family is dysfunctional for reasons that are never clearly delineated. And they all have bizarre sexual hangups.I'm sure I'll be in the minority, but I found that when it comes to dysfunctional families, this movie pales in comparison to Bergman's later Autumn Sonata. There, the characters are real people and it's easy to identify with them. Here, they seem like little more than ciphers standing in for basic human emotions. It doesn't help that the film is grindingly tedious when it isn't being gratuitously creepy (in the creepy old uncle way, not in the horror movie way). What was the point of the "dream" sequence toward the end, anyways? 5/10 for the story, 9/10 for the cinematography, which won Nykvist an Oscar - it's not just the overwhelming use of red that makes the cinematography interesting. Since I think story is worth more than cinematography, at least to me, I give it a six, mainly because it is Bergman and I want to cut him some slack.

This film explores existentialism through the physical, emotional, and psychological torture of its characters. When Agnes' two sisters visit the plot thickens as her pain transcends physicality despite the comfort she receives from her maid as all women are forced to confront the shadows that bind them.As one character's pain affects and reflects the others' the director takes the audience on a downward spiral of resentment, hopelessness, and agony. The film's poetic cinematography with it's commendable use of the close-up only heightens the characters' suffering as their beauty contrasts with their exterior and interior reality. Watching this film feels like staring at a well composed painting in motion where each gesture and each moment, whether it be a moment of constant screaming in complete and absolute pain or a moment of silence, sets the viewer in an inevitable state of contemplation.

Cries and Whispers, directed by Ingmar Bergman, had an uncanny effect on me. The three sisters, Agnes, Karin, and Maria, reminded me of my two sisters and myself but with a vast difference that has made our lives differ from the lives of the three sisters from the film.Like Agnes, my younger sister struggles with an illness. She has cerebral palsy, a condition affecting her nervous system that has resulted in her having a mental disability, seizures, and bowel, vision and dental problems. She is unable to accomplish everyday tasks on her own, whether it's eating, walking, showering or even dressing. Like Agnes, she depends on her loved ones in order to survive. It is remarkable what Agnes and my sister go through everyday, but what blows my mind is how they carry out themselves.Agnes, battling cancer, writes in her diary that she is grateful to her life because it has given her so much. I can't help but feel grateful myself for having the life I have. Sometimes, I do feel like the most unfortunate person in the world, but such a movie eliminates any such feelings. We should always remember that even at our lowest point, someone else might be struggling at an even greater scale.Agnes and my sister have similarities, but one difference between the two is that unlike Agnes, my sister has two sisters that care for her and would do anything to keep her happy. It is unfortunate that Agnes can't seek support from her sisters. No one should go through struggles alone.