Opisy(1)
In Saraband, Marianne and Johan meet again after thirty years without contact, when Marianne suddenly feels a need to see her ex-husband again. She decides to visit Johan at his old summer house in the western province of Dalarna. And so, one beautiful autumn day, there she is, beside his reclining chair, waking him with a light kiss. Also living at the summer house are Johan`s son Henrik and Henrik`s daughter Karin. Henrik is giving his daughter cello lessons and already sees her future as staked out. Relations between father and son are very strained, but both are protective of Karin. They are all still mourning Anna, Henrik`s much-loved wife, who died two years ago, yet who, in many ways, remains present among them. Marianne soon realizes that things are not all as they should be, and she finds herself unwillingly drawn into a complicated and upsetting power struggle... (oficjalny tekst dystrybutora)
(więcej)Recenzje (1)
Bergman's cruelly sarcastic farewell, in which his distinctive imagery is only rather remotely reflected. A few of the shots have a breathtaking inner strength, a disturbing composition that brings intense uncertainty on the threshold of reality and dream. As in Scenes from a Marriage, the characters come to the fore here and most of the intensity and experience comes from their sophisticated psychology. With a good dose of sarcasm, Bergman returns to the fate of Marianne and Johan – while she retains her sympathetic fragility and vulnerability, her ability to bind in a motherly way, the painful Johan has definitely turned into a crotchety and internally angry caricature of himself. Saraband dances with the viewer slowly and melancholically, revealing with a certain skeptical jeer the themes of love, understanding, passion and old age. The scene where ex-spouses lie down in the same bed after years best reflects the strange illusory of understanding that is able to dispel terrible mental rages. Bergman left the door open. For the young and the up-and-coming, there is a chance to overcome the mistakes and guilt of the old, but time is, unfortunately, cyclical – and nowhere is it written that Johan's granddaughter Karin will not succumb to the same conditions as her ancestors, to whom she is bound by hurtful love. Saraband is a formally light, an internally but unusually urgent and elaborate farewell to Ingmar Bergman with film and life, i.e., two phenomena that form an integral unity in his work.
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