Persona
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Movie Reviews of Persona
Movie Review: One of the very best...
Summary: 5 Stars
Where to begin with a film like Ingmar Bergman's PERSONA? It's both a famous and infamous example of world cinema in its heyday (the 1960's, mostly), working hard to stretch the medium past traditional or straightforward storytelling. It's famous, of course, because it was directed by Ingmar Bergman, the legendary Swedish film director (THE SEVENTH SEAL, WILD STRAWBERRIES), featured two of his acting mainstays Bibi Andersson and Gunnar Bjornstrand and introduced Liv Ullmann, who would figure prominently in both Bergman's personal life and professional career. It's infamous because it is usually regarded as a "difficult" film, subject to much critical commentary and debate (which is exactly the kind of response a great film should generate, right?). Was it Susan Sontag who said this was, by and large, a modernist vampire story? I don't know if I agree, but this gives some idea of the range of critical dispute.
After a short but enigmatic prologue, the film opens up into a accessible narrative: that of an actress named Elisabeth Vogler (Liv Ullman) who mysteriously falls silent during a stage performance of Medea (a meaningful play choice in the context of the film) and thereafter will not speak. She is sent to a hospital/clinic where she is assigned to an enthusiastic, inexperienced nurse named Alma (Bibi Andersson). The doctor sends Alma and Elisabeth to her seaside home as a sort of "therapy," where their new friendship gathers an intensity which leads, ultimately, to psychological warfare and strange and symbolic happenings. If this sounds vague, well, that's mainly because the latter part of the film is difficult to summarize (especially without including one's own interpretation of what's "actually" going on).
One thing to notice in PERSONA is its indebtedness to dramatic forms: that is, stage performance. It is certainly no accident how much of the film feels very spare and theatrical. In the hospital, for instance, we see only three persons, Elisabeth, Alma, and the doctor. The hospital rooms are very empty and look, quite consciously, like a stage set. Although the prologue and epilogue include, fleetingly, a few other actors, only four actors have significant roles in the film--two of which dwarf the other two. All of this points very specifically to the notions of art and drama, and more generally, to the that of artifice versus truth; we are intended to sense the artificial structures of the film because they contribute largely to the film's meaning: What constitutes truth? Are we ever, properly speaking, not acting in some way? Can we refuse to participate in the drama of life or are we actors, whether willingly or not?
Let me add that PERSONA is not a characteristic Bergman film by any means. It is far more stylistically adventurous than most of his other films and seems to mark a break of sorts with the chamber dramas of the early 1960's, although there is a certain affinity with THE SILENCE, the final enigmatic film in the "religious trilogy." What I am saying is that, if you know and like THE SEVENTH SEAL or MONIKA or SMILES OF A SUMMER NIGHT, don't expect such austere storytelling in PERSONA, which is a forceful film partially because it can't quite be critically resolved.
Movie Review: Confessional healing for the psyche
Summary: 5 Stars
"Persona" is not the easiest of Ingmar Bergman's films to understand, but it is certainly one of his most cerebral. And there's the rub. He picks our brain, exploring the depths of guilt and despair, both of the mute actress Elisabeth Vogler (Liv Ullmann) and attending nurse Alma(Bibi Andersson). And yet, it is not a depressing film. On the contrary, it makes you think about the healing process the psyche undergoes to recover when it is hurt.
The film itself marks Bergman's break from the symbolism notably seen in his earlier works such as The Seventh Seal - Criterion Collection and The Virgin Spring - Criterion Collection. Albeit the allusion to Sophocles' Electra (Drama Classics) (the role Elisabeth Vogler's character played when she became speechless) cannot be discounted, nor the masks worn in ancient Hellenic theatre to portray an actor's persona or character role. If you scratch the surface deeper, you might even find this psychological film alludes to the Freudian or Jungian concepts of the feminine persona.
Aside from these references, Bergman deconstructs the film before our very eyes as though he is probing the make-up of one's personality. He splices cartoon frames, silent films with his own creation. The film is burnt at one point. The images of Elisabeth Vogler and Alma are melded together to suggest similarity and resolution. A young adolescent boy is seen at the beginning with seemingly no purpose, until at the end we realise this child represents their shared guilt.
Photographer Sven Nykvist's close-ups of Ullman and Andersson are intimate, allowing us to scrutinise their facial expressions and body language for telltale clues to their problem. Bergman's common use of silhouettes on white backgrounds and vice-versa are here too. So are the cleansing seascapes with the lone figure.
One of the most intriguing scenes in the film is Alma's walking on shards of glass without cutting her bare feet, as if her own soul is on edge. The erotic scene where she confesses to Elisabeth Vogler of a sexual encounter years ago and her abortion is the climax (pardon the pun) of the film and foreshadows the revelation to come. And that revelation is Elisabeth Vogler's own guilt; it is her inability to deal with the responsibilities of motherhood, hence her silence and the teenage boy touching the image of his mother at the end. It's a powerful image depicting disconnection, isolation and loneliness.
All in all, MGM has put together a credible DVD package inclusive of the film, trailer, an Ingmar Berman interview in 1970, interviews with Bibi Andersson and Liv Ullmann in 2002 and analysis with film critic and comments from Andersson and Ullmann. To be honest, I was reluctant initially to buy this MGM version, but I must confess after having reviewed the content that it is comparable to any Criterion package and well worth the purchase.
Movie Review: The osmosis of identity....
Summary: 5 Stars
"Persona" (1966) is a film about many things on many levels. It can be seen an experimental deconstructivist film, or as a film about identity and nothingness, or as a film with any number of other themes. Actress Elisabet Vogler (Liv Ullmann) has a breakdown, and after a short stint in the hospital she is taken care of by Alma (Bibi Andersson) at a remote seaside cottage. Elisabet never speaks to Alma, and so Alma fills the silence with her intimate life stories. After a time it is as if the two woman are gradually becoming one. Alma speaks for, and interprets what Elisabet is thinking. This is a powerful, and thought provoking film, that gradually lays down layers upon layers of images, as it develops this story that becomes something of an unconscious power struggle between, and within, two people, as their identities gradually become reversed over time, as Alma seems like the patient, and Elisabet, the caregiver.
It could also be said that Ingmar Bergman is making a statement about how it is impossible to really know another person, and that we project our ideas and values onto other people. The speechless Elisabet acts like an empty vessel that Alma projects her own ideas and feelings upon. Elisabet is the actor, the blank slate, that changes her personality and character with each role she plays. Perhaps this was also what led her to have her break down. She had lost her sense of self, her identity. Ingmar Bergman reminds us that the film we are watching is a fabrication, a recreation on celluloid, with the initial film clips, and with the fragmenting of the image as the film appears at one point to burn up before resuming the story of the two women. The white light of the projection is the blank slate that the director fills with images and his story, just as Elisabet is the blank slate of Alma's projections of who she thinks Elisabet is. Alma doesn't really know who Elisabet is, she only knows Elisabet from the roles she has played as a screen actress.
I watched this film with the original mono Swedish audio, with English subtitles. There is also an English (mono audio ) dubbed version for the soundtrack, but I wouldn't recommend using it as it spoils the mood and atmosphere of the film. The English dubbed voice used for Alma sounds like a young girl, which gives an altogether different quality to Alma's voice.
There is also a featurette with interviews with the actors and Ingmar Bergman, as well as an audio commentary by Marc Gervais. This is the uncensored, theatrical version of the film, with a new (2004) digital transfer of the film that is presented in the original aspect ratio of 1.33 to 1.
Movie Review: You only think you know who you really are...
Summary: 5 Stars
Ingmar Bergman has really changed the way I look at film. He was a brilliant master of cinematic marvels and he really challenged the viewer with every film. `Persona' is probably one of his most widely acclaimed and most widely discussed films, and for rightful reasons.
This film speaks to me.
The plot is simple (at least on the outset). Elisabeth Vogler is an actress who, for no apparent reason, decided partway through a performance to remain silent and she has been hospitalized because of it. Alma, a young and naïve nurse, has been commissioned to care for her. The two women are relocated to a small seaside house where Alma will attempt to break Elisabeth of her muted condition. When alone though, these two women begin to clash. Mentally they start to break one another down, frustrated and impatient and stubborn they start to attack one another (especially Alma as her frailty starts to unravel).
The film is not given a clear conclusion, but that doesn't take anything away from you've experienced. It actually helps to watch the film multiple times, for it is with each viewing that one can dissect and uncover the core of this very poignant and powerful exposé on human mentality and illness.
With brash directorial touches, Bergman blurs the lines between character developments to expose a truth we strain to see.
Bibi Andersson and Liv Ullmann are flawless here. This is Andersson's movie, despite this being Elisabeth's story. As Alma, Andersson carries the bulk of the films dialog, and she handles each scene rather effortlessly. Even when discussing weighty subjects (her erotic encounter is just brilliant) she has this natural tone, an ease that helps establish her remarkable comfort with Elisabeth. Although silent, Liv really transcends that silence and delivers a very moving performance. Bergman always pushed his actors to deliver with minor facial movements to really convey feelings and emotions that were not dependant on words. Liv's dynamic performance is proof of that.
If you are willing to climb inside your mind and explore what may not be most comfortable, then `Persona' is a film for you. With startling images (the opening scenes are rather abrasive and shocking) and a subtle yet complex plot, `Persona' has everything a film needs to make an impact.
And what an impact it makes!
Movie Review: The stars are given based on the movie itself
Summary: 5 Stars
This is one of the two movies, among his 50+, that Ingmar Bergman himself is most proud of; in a recent interview, given before his retirement from the theatre (in January 2004,) he said that with "Persona" and "Cries and Whispers" he pulled off something he thought would be beyond his capability, and indeed - to this day both films (among his most complex,) and many of his others, keep impressing audiences.
This movie was shot on the island of Fårö (Bergman's residence for the past 40 years,) by cinematographer Sven Nykvist, who had been Bergman's regularly used cinematographer for all his movies since "Jungfrukällan" a.k.a. "The Virgin Spring" (1960). "Persona" tells the story of actress Elisabeth (Liv Ullmann,) who has chosen muteness, and her nurse Alma (Bibi Andersson,) who observes her, keeps her company, and is trying to "cure" her while they live together in the archipelago during the summer. As always both these actresses do convincing jobs. This was Liv Ullmann's first appearance in a Bergman movie (it lead to a relationship between her and the director,) while Bibi Andersson had been reoccurring in Bergman's movies since "Smiles of a Summer Night" (1955).
MGM's presentation is less than professional. They have presented the movie in Aspect Ratio 1.33:1 instead of Original Aspect Ratio 1.37:1! MGM have announced that they are not going to correct this mistake. This also goes for their DVD editions of the OAR 1.37:1 movies "Hour of the Wolf" and "Shame," which originally were released by MGM (although corrected) in 1.66:1!
The picture quality on this DVD is furthermore brownish and gray, while the intention was clear black and clear white.
This movie is available on a region-free DVD by Tartan, which has less features, but clearer picture, and is presented in Original Aspect Ratio 1.37:1.
MGM's edition features a 27 minute long documentary, short interviews with Andersson and Ullmann, and (not very good) audio commentary by Marc Gervais, but the extras do not make up for the cropped picture in my opinion. Also, this disc may not work on certain DVD-players; one of my two players cannot open the menu for this DVD, although the player hasn't had such problems with any of my other 100+ DVD's. Zero stars for MGM, full stars for Bergman's landmark.