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Viskningar och rop (1972)
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Overview
User Rating:
Your Rating:
Director:
Writer:
Ingmar Bergman (writer)
Release Date:
5 March 1973 (Sweden)
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Tagline:
A haunting and shattering film experience.
Plot:
When a woman dying of cancer in turn-of-the century Sweden is visited by her two sisters, long repressed feelings between the siblings rise to the surface. full summary | add synopsis
Awards:
Won Oscar.
Another 19 wins
&
7 nominations
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NewsDesk:
(5 articles)
Nocturnal Admissions: Movie Review - Antichrist
(From . 14 September 2009, 11:45 PM, PDT)
In search of redemption
(From Roger Ebert's Blog. 27 June 2008, 3:55 PM, PDT)
(From . 14 September 2009, 11:45 PM, PDT)
In search of redemption
(From Roger Ebert's Blog. 27 June 2008, 3:55 PM, PDT)
User Reviews:
One of Bergman's Most Powerful Works
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Cast
(Credited cast)| Harriet Andersson | ... | Agnes | |
| Kari Sylwan | ... | Anna | |
| Ingrid Thulin | ... | Karin | |
| Liv Ullmann | ... | Maria (and her mother) | |
| Anders Ek | ... | Isak, the priest | |
| Inga Gill | ... | Story teller | |
| Erland Josephson | ... | David, the doctor | |
| Henning Moritzen | ... | Joakim, Maria's husband | |
| Georg Årlin | ... | Fredrik, Karin's husband | |
| rest of cast listed alphabetically: | |||
| Ingrid Bergman | ... | Spectator (as Ingrid von Rosen) | |
| Lena Bergman | ... | Maria as a child | |
| Lars-Owe Carlberg | ... | Spectator | |
| Malin Gjörup | ... | Anna's daughter | |
| Greta Johansson | ... | Undertaker | |
| Karin Johansson | ... | Undertaker | |
| Ann-Christin Lobråten | ... | Spectator | |
| Börje Lundh | ... | Spectator | |
| Rossana Mariano | ... | Agnes as a child | |
| Monika Priede | ... | Karin as a child | |
| Linn Ullmann | ... | Maria's daughter | |
Additional Details
Also Known As:
Cries and Whispers (USA)
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Parents Guide:
Runtime:
91 min
Country:
Language:
Color:
Color (Eastmancolor)
Aspect Ratio:
1.66 : 1 more
Sound Mix:
Certification:
Sweden:15 |
Australia:M |
Argentina:16 |
Finland:K-16 |
Singapore:M18 |
UK:18 (re-rating) (1998) |
UK:X (original rating) |
USA:R
Filming Locations:
Company:
Fun Stuff
Trivia:
Ingmar Bergman explained the use of the color red his film: "'Cries and Whispers' is an exploration of the soul, and ever since childhood, I have imagined the soul to be a damp membrane in varying shades of red."
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Quotes:
David:
Come over here Maria. Look at yourself in the mirror. You are beautiful... but you have changed. These days you cast rapid, calculating, sidelong glances. You're gaze used to be direct, open, and without any disguise. Your mouth is an expression of discontent and hunger. It used only to be soft. Your complexion has become pallid, you use make-up. Your fine, broad forehead now has four creases above each eyebrow...
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Movie Connections:
Referenced in Une employée modèle (2002)
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Soundtrack:
Suite No. 5 for solo Cello in C Minor, 4th mvt 'Sarabande'
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FAQ
This FAQ is empty. Add the first question.more (103 total)
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Upon its release CRIES AND WHISPERS was hailed as one of Bergman's finest films. Although it has not quite held onto that original evaluation, it remains a very fine film--a subtle and delicately performed drama as remarkable for its silence as for its occasional moments of dialogue. And in many respects it offers an extremely good introduction to Bergman's work.
Like many of Bergman's films, CRIES AND WHISPERS shows the director's preoccupations with memory, communication, time, community, and death. The story is bleak: Agnes is dying and her sisters Karin and Maria have come to attend her during this final illness--but they prove unable to communicate in a meaningful way with either Agnes or each other, and Agnes' emotional care is left largely to her long-time maid, the devoted Anna.
As the film unwinds, we are bought into the memories of each woman in turn. The dying Agnes (played with powerful realism by Harriet Andersson) not only grapples with increasing pain, she recalls with regret the emotional separation that existed between her long-dead mother and herself. Sister Maria (Liv Ullman), a mindless sensualist, recalls an act of adultery that has poisoned her marriage; Sister Karin (Ingrid Thulin), who is emotionally cold, recalls an act of self-mutilation designed to thwart her husband's desires. Only the maid Anna (Kari Sylwan), with a peasant's directness, actually works to be of comfort, even going so far as to cradle Agnes' head on her naked breast and dreaming of comforting Agnes while her sisters fail.
The film is ever so delicately tinged with subtle elements of lesbianism, sadomasochism, and incest, and the emotional problems experienced by Maria and Karin are at least partly sexual in nature--but these are not the focus of the film so much as they are surface indications of a deeper internal turmoil. As to what that deeper turmoil is... Bergman might say it is the nature of life itself. We each stand alone, usually in denial of our own mortality, usually unable to reach each other in any meaningful way. A deep film, and in spite of its occasional awkwardness a memorable and touching film. Recommended.
Gary F. Taylor, aka GFT, Amazon Reviewer