Persona (1. 96. 6 film) - Wikipedia. Persona is a 1. 96. Swedish film written and directed by Ingmar Bergman and starring Bibi Andersson and Liv Ullmann. The Latin word persona originally referred to the masks worn by actors on stage. Persona has been labelled a psychological drama and modernist horror. It is the sixth collaboration between influential cinematographer Sven Nykvist and director Ingmar Bergman and features their trademark minimalism. The film opened in the U. S. The last, and longest, glimpse features a boy who wakes up in a hospital next to several corpses, reading Mikhail Lermontov's A Hero of Our Time (. The hospital administrator (portrayed by Margaretha Krook) offers her own seaside cottage as a place for Alma to nurse Elisabet back to health. Though Elisabet is nearly catatonic when the film begins, she does react with extreme panic upon seeing a Vietnamese Buddhist monk's self- immolation on television, and laughs mockingly at Alma's radio soap opera. As the two women leave the hospital together, Alma reads aloud a letter Elisabet's husband has sent her, which includes a photograph of her young son. Together in the administrator's cottage, Elisabet begins to relax, though she remains completely silent and non- responsive. Alma speaks constantly to break the silence, at first about books she is reading and trivial matters, then increasingly about her own anxieties and relationship with her fianc. As the act closes, Alma confesses to cheating on her fianc. She became pregnant, and had Karl- Henrik's friend abort the baby; . She is not sure how to process the abortion mentally. Elisabet is heard to say . Elisabet later denies speaking. Alma drives into town, taking Elisabet's letters for the postbox, but parks by the roadside to read what she wrote. She discovers in Elisabet's letters that Elisabet has been analyzing her and . Alma returns distraught, accidentally breaks a drinking glass on the footpath, and leaves the shards there to cut Elisabet. When Elisabet's feet start to bleed, her gaze meets Alma's knowingly, and the film itself breaks apart: the screen flashes white, scratch marks appear up and down the image, the sound rises and screeches, and the film appears to unwind as brief flashes of the prelude reappear for fractions of a second each. Stroop Report photograph found by Elisabet: . The image clears up with a sharp snap when she looks out the window before walking outside to meet Alma, who is weepy and bitter. At lunch, she tells Elisabet she has been hurt by Elisabet talking about her behind her back, and begs her to speak. When Elisabet does not react, the nurse flies into a rage. Alma tries to attack her and chases her through the cottage, but Elisabet hits her during the ensuing scuffle causing Alma's nose to start bleeding. In retaliation, Alma grabs a pot of boiling water off the stove and is about to fling it at Elisabet, but stops after hearing Elisabet wail . Alma goes to the bathroom, washes her face, and tries to pull herself together. She then goes to Elisabet and frustrated by her unresponsiveness tells her, . They said you were healthy, but your sickness is of the worst kind: it makes you seem healthy. You act it so well everyone believes it, everyone except me, because I know how rotten you are inside. Elisabet flees, and Alma chases her begging for forgiveness. That evening, Elisabet opens a book she is reading and finds a famous Stroop Report photograph of Jews being arrested in the Warsaw Ghetto. Elisabet stares at details in the photograph, but mostly at the boy with his hands raised. That night, Alma watches Elisabet sleep, analyzing her face and the scars she covers with makeup. She hears a man yelling outside, and finds Elisabet's husband, Mr. Vogler, in the garden. Vogler (portrayed by Gunnar Bj. Elisabet stands quietly beside the two, holding Alma's hand, and Alma admits her love for Mr. Vogler and accepts her role as the mother of Elisabet's child. The two make love with Elisabet sitting quietly next to the bed with a look of panic on her face, and afterward, Alma cries. The image of Elisabet becomes blurry. The climax of the film comes the next morning; Alma catches Elisabet in the kitchen with a pained expression on her face, holding a picture of a small boy. Alma then narrates Elisabet's life story back to her, while the camera focuses tightly on Elisabet's anguished face: at a party one night, a man tells her . But you lack motherliness. As the pregnancy progresses, she grows increasingly worried about her stretching and swelling body, her responsibility to her child, the pain of birth, and the idea of abandoning her career. Everyone Elisabet knows constantly says ? She has never been so beautiful. After the child is born, she is repulsed by it, and prays for the death of her son. The child grows up tormented and desperate for affection. The camera turns to show Alma's face, and she repeats the same monologue again. At its conclusion, one half of the face of Alma and the other of Elisabet's visage are shown in split screen, such that they appear to have become one face. Roza Anagnosti lindi m Persona (1966) - Aktorka Elisabeth Vogler (Liv Ullmann) zaniem. Badania kliniczne wykaza Top Movies of 1966 list. Displays the best movies of 1966 are compiled by community movie ratings and 1966 top movies lists. The top films of 1966 are updated daily. International film festival for short movies, fiction, documentaries and animation. General information, program, history, submission details, sponsors, and staff.
Srijeda, 04 Studeni 2009 12:27 zvanje prof. A list of favorite classic movies, rated good to excellent, five stars *****. Alma panics and cries . I don't feel like you. I'm not Elisabet Vogler: you are Elisabet Vogler. I'm just here to help you! Elisabet manages to repeat the word. Back at the cottage, Alma leaves, and later returns, to find that Elisabet has become completely catatonic. Alma falls into a strange mood and gashes her arm, forcing Elisabet's lips to the wound and subsequently beating her. Alma packs her things and leaves the cottage alone, as the camera turns away from the women to show the crew and director filming the scene. The film ends with the boy from the prologue touching the split- screen image of Elisabet and Alma. Production. And that in these two instances when working in total freedom, I touched wordless secrets that only the cinema can discover. If I had not found the strength to make that film, I would probably have been all washed up. One significant point: for the first time I did not care in the least whether the result would be a commercial success.. His mental association of the two women helped form the idea behind the film. In another account, consistent with the first, he states that its seminal image . The nurse realizes that she has done precisely what Elisabet tried and failed to do: erase a child from her life by means of abortion. By showing this tension as one experienced primarily by women, Bergman can be said to . This theme of mergence and doubling surfaces early in the film in Alma. He also created new subtitles by commissioning several language experts to provide new, accurate translations for the dialogue; this is particularly noticeable during Alma. The original, uncensored version wasn. Love and Death references Persona in its final minutes; two characters are lined up, one facing the camera, the other at a 9. Persona. 1. 7.^Birgitta Steene, . Swedish Film Institute. Styles of Radical Will. ISBN 9. 78- 0- 3. Retrieved 2. 3 July 2. Lloyd Michaels (2. Ingmar Bergman's Persona. Cambridge University Press. ISBN 9. 78- 0- 5. Retrieved 2. 3 July 2. A bit of cinematography. Christian Science Monitor 1. November 1. 96. 6: 8.^Steene Birgitta, . Ingmar Bergman: His Life and Films. ISBN 9. 78- 0- 7. Retrieved 2. 3 July 2. Ingmar Bergman's Persona. Gado, The Passion of Ingmar Bergman. Duke University Press. The Passion of Ingmar Bergman. Duke University Press. Blackwell Marilyn Johns, . Marilyn Johns Blackwell. Gender and representation in the films of Ingmar Bergman. Camden House: 1. 51.^Blackwell Marilyn Johns, . The Persona of Ingmar Bergman: Conquering Demons through Film. Rowman & Littlefield. Motion(less) Pictures: The Cinema of Stasis. Columbia University Press. Retrieved 3. 0 July 2. Scott (2. 1 February 2. The New York Times Guide to the Best 1,0. Movies Ever Made. ISBN 9. 78- 0- 3. Retrieved 2. 3 July 2. Film v Sloveniji - Slovenski filmski center, javna agencija. Slovenska profesionalna filmska produkcija se je za. Do leta 1. 99. 5, ko je bil ustanovljen Filmski sklad RS, predhodnik Slovenskega filmskega centra, je bilo posnetih 1.
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