The Silence (Tystnaden) - Breaking Down Bergman - Episode #25
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- Опубликовано: 10 фев 2013
- WARNING: This video contains clips from Bergman's The Silence which may not be suitable for younger viewers.
Two sisters travel with a young boy by train, but stop midtrip at a hotel as one of the sisters, who is sick, becomes increasingly ill. While at the hotel, the other sister wanders the city and encounters a random man who she has sex with, while the boy spends his time wandering a mostly empty hotel.
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Friend and Strimban are watching the career of the Swedish director from his first film to his last, in order, and discussing their observations. Visit the main channel for more details.
#breakingdownbergman #ingmarbergman #sweden 
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"The Silence" is a masterpiece, one of the greatest Bergmans's movies ( as "Wild Strawberries" , "Persona" , ""Cries and Whispers" for examples )
Why should a movie teach something ? I think Bergman is more interested in showing us the paradoxes, tensions and questions and throw up a mirror at us. Not like other directors who use movies to pontificate (which is ok too...).
A Movie with multiple meanings and layers....
Good Though Guys and a detailed one👍.
The older of the two women has spent her life abusing the younger and, crippled with illness, is now powerless against the latter’s vengeance. If this is still a film about our relationship with a god, and Bergman claims it is, his final one in fact, it seems to be more a sketch of the spite one unleashes toward the impotent beliefs we have allowed to bully us all our lives, especially with the recognition of being eternally bound, as if to an abusive family member.
Love this channel ❤
good video, interesting to hear your thoughts. this one is actually one of my favorite Bergman films
Thank you so much for the support. By the way, if you have found this series helpful, please read our latest Facebook message, as one Sweden distributor is risking the shutdown of our channel. - David
I don't agree with you on this one. I think The Silence is brilliant!
Interesting insight.
Thanks for the awsome video It realy helped me to make sence of some of the things that I have missed watching the film. As for the discussion as you mentioned the film was much harder to understand, random and sometimes it even disturbs the audiance But cmon! It is a Bergman! He is god! :D
(Still don't take this as a bad critisisim. I realy enjoyed how you shared your interpritation, most people don't have the courage to tell how they realy fell :)
Sorry for my lousy english :)
For me the '60s is his greatest decade, despite the fact the 50s got all the attention. The '70s are great too, if more autumnal, in a way Shakespeare's Tempest phase is. And Sonia, Winter Light is essential. It's top 3 essential. But accolades to you guys discovering these films. How many had you seen before embarking on this series?
I think its the best movie ever
what a naive comment of her.. I agree with him! The silence is just art.!
In "The Silence" (1963), again no god, not even the search for god. In a time of war, two women, apparently sisters/lovers (relevantly irrelevant), compete for each other’s love and that of a child. What each of them symbolizes is, wonderfully, anyone's guess, and there's already been some neat takes from various posters here.
it kind of remind me of The Shining
hey guys, you can remove the hiss from your recordings with a noise remover filter. It's easy and quick and it could enhance the audio quality a lot!
After some years, revisit those Bergman films that have stayed with you the most and, trust me, you will be amazed how differently you feel about them. If you persist in looking merely at his narrative, literary or thematic aspects, you're sure to remain perplexed. It is what IB has contributed to the 'cinematic' that is most significant, and in that regard, the best is certainly yet to come. Have fun, gang!
His next film after The Silence was Now About All these Women. But obviously Persona admittedly has more in common with The Silence.
Having said that, the documentary about Winter Light is longer than the film it's about, lol. It was in it's defence, though a series.
It's been a long time since I've watched The Silence, but there are a few lines about the silence of God (I believe in the scene with the puppet show)--about why he is silent. I think it's also interesting that Ester's note to Johan at the end has words in a foreign language . . . with no translations of the words. (And Johan clearly prefers his aunt over his mother.) I see this being "left without" as the religious situation that the three films explore. All three of these films are heartbreaking.
There are no lessons. These are films for the heart, not for the head (though there's plenty for the head, too).
Bergman SHOWS and ASKS how will become this child a good adilt who grown upmsuround by this? And in the last scene his eyes screams hate and he disgusted by her mother, so he realized that he has to escape asap from this woman. so if you look for a lesson there is, but its not about lessons its about a grotesque situation which we always have in modern life in certain ways and he has shown it brilliantly
I mentioned re last film I was beginning to wonder if IB misses normal empathy in human condition and relations, as characters seem to talk at rather than to each other, analysing the other or themselves but never feeling or asking sympathetically, and lo, this is partly how you read the very theme of this movie, with lack of spirituality the reason. If this movie isnt essential Bergman it is quintessential; and one of my favourites.
I think you can also make the case that "The Virgin Spring" and Persona (the next film, I think, in line for you all) as bookends in a quintet about God and Man/Silence of God. I think critics and Bergman decided ex post that this was a trilogy.
Gorgeous but emotionally estranged Scandinavian sisters, one frigid and the other promiscuous send each other on guilt trips for 90 minutes. This movie is like Frozen for adults.
I'll have to look into that. We're new to this editing thing.
With "The Silence" then "Persona" (1966), this inquisition into relationships, erstwhile that between self and god, is now replaced with a more important one: the ambiguity of the relationship binary self and other or other within the self, the kind brilliantly dissected in classic novels like Frankenstein and Moby Dick. Now, Son-Son: you appear to be going through the very same thing myself and so many others have on their first foray into Bergman. 'What's the big deal?' 'I don't get it' etc.
In the comments I found what I was looking for instead of the video. Great insight!
I think the sexuality is a proxy for the closeness to God in his head, and I think the Silence is a function of how the film industry was silent about sex in film as a way of being more spiritual. Good breakdown, folks!
With the ‘faith’ trilogy, is Bergman really asking the same questions of his characters about god and love, like the puppy dog chasing its tail of pre-Spinozan, Christian philosophy fame (Lucretius, Augustine, Anselm, Aquinas etc), or are these grim presentations the didacticism of a calm, confident atheist?
Bergman is a tough cookie, and many claim that one must finally understand him before you can really reject him (like the brilliant architect Ted Gorenson, who I frequently disagree with but always admire). My advice is remain open, stick with the project to the bitter end (have I made mention yet of my wife's suggestion for a Bergman-rape hotline?) then venture off into all the many rich offerings in the wilderness of rank auteurism (eg. Kubrick, Tarr, Cassavetes, Herzog, Haneke, Lynch).
It's true you are being a little hard on and potentially throwing others off the scent of these well-acknowledged classics of cinema, but it is most definitely not for their populist, pantheonic validity that you should reconsider. I suspect that with the gothic era ("Persona" -> "The Passion") and the 70s melodramas, you might be more impressed though still continually bemused. Don't trouble yourself.
I see people getting worried about your interpretations. You seem to like TAGD the most of the trilogy and I would call it the weakest. Yet your qualifications about the trilogy echo how the films were greeted when they first appeared. There's an asceticism, a dryness unseen before. For me they are the first films of Bergman's mature phase, which reach an apotheosis in Persona. And yes, God takes a back seat from here on. These three films made that happen. And that's important, not random.
Am I the first person to notice the two leads in this movie have the same initials (and the younger has the same name) as the two princesses in Disney's Frozen? I somehow find it hilarious.
I'm pretty sure you're the first :) - David