Screams and whispers

from Wikipedia, the free encyclopedia
Movie
German title Screams and whispers
Original title Viscningar and rop
Country of production Sweden
original language Swedish
Publishing year 1972
length 90 minutes
Age rating FSK 12
Rod
Director Ingmar Bergman
script Ingmar Bergman
production Liv Ullmann ,
Ingrid Thulin ,
Harriet Andersson ,
Sven Nykvist
music Frédéric Chopin ,
Johann Sebastian Bach
camera Sven Nykvist
cut Siv Lundgren
occupation
synchronization

German synchronous file # 36635

Screams and Whispers (original title: Viskningar och rop ) is a Swedish feature film by Ingmar Bergman from 1972 . This chamber play staged psychodrama takes place in a manor house at the end of the 19th century and tells the story of three sisters, one of whom is dying.

Screams and Whispers was an international success for Bergman after a few less well-known films and deals with typical Bergman themes such as the investigation of the female psyche or the search for faith and salvation . Due to the unusual color and lighting design, the film received the award for best camera among other awards at the 1974 Academy Awards .

action

An aristocratic mansion at the end of the 19th century: Agnes has cancer and is dying. The moments when she finds strength to write in her diary are rare. Most of the time, she is tormented by attacks of severe pain. Agnes' sisters Maria and Karin have come to stay with the dying woman, but they remain distant, Karin in her coldness, Maria in her superficial warmth. Only the deeply religious maid Anna, whose only daughter once died in childhood, is able to give Agnes consolation and human closeness.

Flashbacks interrupt the cinematic flow of narrative and tell from the lives of the respective main characters: Agnes remembers her childhood and her enigmatic mother. Maria experiences her adulterous relationship with the cynical doctor David and her husband's unsuccessful suicide attempt afterwards. Karin snubs her hated husband by injuring her private parts with a piece of glass.

Agnes died. After the pastor's eulogy, Karin and Maria plan to dissolve the property. The two get closer for a moment when Maria touches and caresses her sister Karin - against her initial reluctance. In a dream-like sequence , Agnes returns to the living shortly afterwards and demands warmth and love from her family. Only Anna is able to take the dead woman in her arms and mourn for her.

After the funeral, the sisters leave; Karin, who wants to stay close to Maria, is rejected by Maria. In the last flashback, an entry from Agnes' diary, in which Anna is reading, is visualized: The sisters stroll happily and dressed in white through the park of the castle.

History of origin

Script and preproduction

Ingrid Thulin's dress made of Viskningar och rop , in Filmhuset , Stockholm.

After a long separation from his partner Liv Ullmann and a few less successful films, Ingmar Bergman retired to Fårö . “In a long-lasting attack of melancholy” he wrote a 50-page letter in which he processed a vision that he described in Cannes in 1973 : “Several years ago I had the vision of a large red room in which three women were whispering to each other . ”Bergman sent this letter to his most important collaborators and regular actors. Liv Ullmann reported that it was “a very intimate and personal letter” that began with the words: “My dear friends, we will be making a film together again. It is a kind of vision that I had and that I am trying to describe to you. "

The letter contained a full plot of screams and whispers , but was not written in the form of a script. Bergman was able to get the actresses Harriet Andersson, Ingrid Thulin, Liv Ullmann and his preferred cameraman Sven Nykvist, who he had trusted for many years, enthusiastic about the project. Bergman's original plan to win Mia Farrow for the cast came to nothing.

Since Bergman was unable to attract foreign capital for the financing due to his last films that were difficult to market internationally, he decided to shoot the film in Swedish and finance it himself with his production company Cinematograph. He continued his own savings in the amount of 750,000 Skr committed and got the Swedish Film Institute further 550,000 Skr. The decision to support Bergman's film allegedly to the disadvantage of less well-known directors with this not inconsiderable sum brought Harry Schein , the person in charge of the film institute, into criticism.

With the shares of Bergman and the film institute, a funding gap of around 100,000 Skr. In order to save costs, the leading actresses and Nykvist used their fees as capital and officially acted as co-producers, although they were not involved in the business decision-making processes, as Liv Ullmann recalled.

Taxinge-Näsby Castle on Lake Mälaren near Mariefred was found as the filming location . The abandoned old mansion was in a poor structural condition, but Bergman's team was able to completely redesign it according to his requirements. For six months, Bergman and Nykvist tested backdrops, decorations and lighting situations in conjunction with make-up and costumes, as both thought that careful preparation was necessary.

Production and post-production

Taxinge-Näsby Castle, now a tourist attraction, was in a state of disrepair at the time of filming

The shooting took place from September 7th to October 29th, 1971. The team worked “in a mood of perky confidence,” Bergman notes, benefiting from their long-standing familiarity. Since Bergman did not write down the dialogues, but only determined the plot, the spoken texts were created in cooperation with the actors during the shoot or were freely improvised, as Ullmann remembers. Bergman's daughters Linn and Lena Bergman were on set and played small roles.

The post-production of the film proved to be tedious. In addition to the sound editing, the image processing in the laboratory to match the colors and light situations turned out to be particularly complex. In parallel with the post-production, Bergman began preparing scenes of a marriage . Since he got into acute financial difficulties, he was forced to sell the rights to scenes of a marriage to Swedish television in advance . Since it was initially not possible for Bergman to find a European distributor for screams and whispers , the film had its world premiere on December 21, 1972 in a small art house in New York , on loan from the B-filmer Roger , through the mediation of his American agent Paul Kohner Corman . The play date became available at short notice after a Visconti film that had been scheduled there had been delayed in its completion.

reception

Publication and contemporary criticism

Screams and whispers turned into a surprise success within a few days. Within two weeks, distributors were found for many countries and the film was invited to international festivals. On March 5, 1973, he finally started in Bergman's homeland, Sweden. In the Federal Republic of Germany, Schreie und Whispering had its premiere on March 10, 1974 on ARD .

In the US, the film's reception by critics was quite positive. Roger Ebert wrote, for example, that the film was “hypnotic, disturbing, terrifying” , the vision of a filmmaker “who is an absolute master of his art” . The film has "no abstract message" , but communicates "on a level of human feeling that is so deep that we are afraid to find words for the things we find." Variety wrote that Bergman's "dark vision" focuses on "Individuals who are only capable of real communication between people on the most primitive level." Bergman's "arid style" and "his use of long-lingering close-ups" give the film "hypnotic impressiveness."

Pauline Kael judged that the film was based on a “series of emotionally charged images” that expressed “inner tension” . With its blood-red backgrounds, Nykvist's photography is reminiscent of Edvard Munch's style . Vincent Canby rated the film as "wonderful, moving and very mysterious" . It is neither easy to describe nor to endure.

European film critics were divided on their opinion of the film. One of the positive voices came from François Truffaut , who noted in his 1973 film review in the Cahiers du cinéma that the film begins like Three Sisters of Chekhov , ends like The Cherry Orchard , and in between there is “a lot of Strindberg ” . The film is a "masterpiece" and reconciles Bergman "with the large audience that has ignored him since his last film The Silence ."

Other critics criticized Bergmans, according to Golombek, “ mannerism ” , the “superimposed and stilted” color dramaturgy, and the “aesthetic refinement for its own sake” , as Lange-Fuchs notes. In Sweden the film drew some critical remarks that it was too apolitical and unhistorical. The communist newspaper Gnistan criticized the product character of the film and wrote that it was "a globally marketable product" like Volvo or Swedish vodka. Bergman is "truly reactionary" by not making politically conscious films, but "art for his fellow directors and people like that" .

Bergman himself was very pleased with the film. He called him his "Sunday child" because he had nothing to be desired regarding the cast and the course of the shooting. Screams and whispers is a "good movie" that he is proud of. In his autobiography Bergman notes: "A few times I have managed to move freely between dream and reality." As examples, he cites the films Persona , Evening of Jugglers and The Silence , in addition to screams and whispers .

Awards

The film ran outside of the main competition at the Cannes Film Festival in 1973, but the press conference on the film, Bergman's first outside of Scandinavia, was the largest since the festival was founded. Bergman won the Grand Prix of Technology in Cannes .

Screams and Whispers was nominated for five Oscars at the 1974 Academy Awards, for Best Director , Best Original Screenplay , Best Costumes , Best Cinematography and, surprisingly for a foreign language film, also for Best Picture . In the end, only Nykvist was awarded in the Best Camera category for his work as a lighting cameraman.

In addition to numerous other nominations and awards at international festivals and from critics' associations, he won the Swedish Guldbagge in 1973, the National Board of Review awards in 1973 for best director and best foreign language film , and the 1973 awards from the National Society of Film Critics for the best Cinematography and Best Screenplay and 1973 New York Film Critics Circle Awards for Best Actress (Liv Ulmann), Best Director , Best Picture and Best Screenplay . The film won a total of 20 international awards.

Film studies assessment

Marschall judges the film that it deals “with suffering and alienation and, above all, with the immutable transience of every human existence - a memento mori that is difficult to bear in its severity and consistency, without a religious basis, without promise of salvation.” Timm calls the film a “high one Song of mourning, in which the development inevitably leads to death. The interesting thing is the feelings that the drama can evoke, not the plot itself. "

Assayas puts the poetic and dreamlike qualities of the film in the foreground: “Bergman's poetic and aesthetic vision reaches its completion in the perfection of screams and whispers. In this ecstatic film between dream and the most banal reality on the borders between life and death, the gates suddenly open, on which Bergman repeatedly knocked throughout the entire oeuvre of his late creative period. The film takes place from start to finish in an area that the cinema is normally not allowed to enter. It is like a breath that passes by, penetrates us without us unraveling its magic and its secret, and silently disappears again - leaving a transformed universe behind. "

Ulrich Gregor notes: “With great clarity, skepticism, but also with understanding and pity Bergman draws his people, their pain, their hardening, their loneliness. His mastery is evident in the scarcity and compression of every single scene, every image. "

Marc Gervais states that Screams and Whispers is "a film of formal perfection, a masterpiece of modern cinema, all within itself, a perfect creation that cannot be compared with any other film, and yet typically Bergman". The film is “the triumph of cinematic poetry , which, like all poetry, cannot be fully grasped by the mind.” The lexicon of international film states that screams and whispers is “a very intimate but also powerful film; Formally, it is extraordinarily strictly composed and played extremely intensely. ” The film is “ to be understood as both a psychodrama and a mystery play ”.

Aftermath

With screams and whispers , Bergman recalled a few films that had not received much attention at international level and paved the way for the great success of scenes from a marriage , also through the large number of prizes won and the media attention it received . With his “European inwardness” he hit the zeitgeist quite precisely, especially in the USA; Woody Allen , an admirer of Bergman film art, was inspired, for example, in equal parts by screams and whispers and Fellini's 8½ for his film Stardust Memories . Allen calls screams and whispers an “absolute masterpiece” and argues: “You could say that [Bergman] has found a method to turn the inner soul landscape outside [...]. Since he rejects the conventional actions that conventional film demands, he lets the wars rage inside a person. "

Film analysis

In screams and whispers, Bergman focuses on the themes of transience and death and explores the psychological life of his protagonists in images that remind us of dreams . In addition to his “trademarks” such as concise close-ups, his staging means include a sophisticated color dramaturgy around the central color red and the recourse to the imagery of Christian Renaissance art.

Staging

Visual style

Color and light design

Bergman works with a sophisticated color and light dramaturgy. He confirms: “All my films can be imagined in black and white, with the exception of screams and whispers.” The dominant color is red , in various color saturations , but always in uniform, shadow-reduced monochromatic color blocks, for example as the color of the walls, curtains and the Carpets occurs. The red is complemented by the achromatic colors black, white and gray, which also define the figures with different weightings (the adulterous femme fatale Maria wears a red dress, the stiff and frigid Karin a black one). Only at the beginning and at the end of the film is this limited color palette supplemented by the green of the palace garden. Marschall notes that the black stands for death, sadness and melancholy, the white for life, helping love and divine light.

Marschall relates the selection and use of colors to the main themes of the film, namely pain and death: "Like pain [...] the colors move in their materiality between the scream and the whisper" . The “aggressive, intrusive red of the walls and floors” threatens to “pull the figures together” . Bergman creates “a soul space from which there is no escape” through his coloring . The staging in red also means that the spatial representations are “exposed to an acid test” : Although Bergman staged with distinctive lines of flight into the depths and clears the view through open room doors into further suites, the monochrome dominance of red always pushes forward. Marschall sums up: “Black, white and red are assigned primary, existential meanings in terms of color symbols: light, darkness and the red blood” and: “Due to the extreme color design, especially due to the merciless red, the film forces attention to a topic that we generally prefer to suppress: our own end. "

The color design corresponds with careful use of light. No artificial light was used, only the natural light that came in through the large windows of the house. For example, in Agnes' death scene, Nykvist used a moment of bright daylight when the cloud cover tore open for a few seconds for the moment of death. As soon as her body slackens, the cold blue light of a cloudy day dominates the scene again. Another example of the lighting is the often bright illumination of the face of the self-amorous Maria, while her counterparts remain immersed in gloom. According to Marschall, this use of light is “symbolic, but by no means idealizing” . In her vanity and lust for pleasure, Maria is “a light figure of fleeting hardness” . Especially in the scene with the pastor at Agnes' death bed, who is positioned in front of the window “in misty, shimmering backlight ” , Gervais sees borrowings from the lighting by Carl Theodor Dreyer in his film Das Wort (1955).

Image composition
Michelangelo: Pietà (1498–1499), St. Peter's Basilica

In his compositions, the director draws on subjects from painting and sculpture, especially Christian art . “Clearly and boldly” , so Marschall, he quotes, for example, in the scene when Anna holds the dead Agnes in her hands, the motif of the Pietà , in particular Michelangelo 's elaboration of this medieval image in St. Peter's Basilica. In Marschall's opinion, Bergman stages the close emotional bond between the two, almost like a mother-daughter relationship ( Hauke ​​Lange-Fuchs calls Anna the “all-mother” ); Through Anna's nakedness and her spread legs, the film image is "permeated by the idea that there is a return to the womb in death."

Hans Baldung: Death and the Maiden (1517), Kunstmuseum Basel

When Maria surrenders to the doctor, Bergman uses the black figure of the doctor Hans Baldung Grien's motif Death and the Maiden in his scenic composition in which the beautiful woman is ensnared . Bergman thereby takes up the motifs of Vanitas and Memento Mori . Marschall explains: "While Maria enjoys the [...] beauty of her body, which challenges her to love, the black man at her side describes her unstoppable decline." He is "like a messenger of death who, through her reflection, tells us about transience." of beauty and thus of life. "

Andrea Mantegna: Lamentation of Christ (around 1490), Pinacoteca di Brera Milan

The director also uses models from Renaissance art when positioning the camera . Marschall sees in the scene at the death bed, in which the camera at the head of the bed shows Agnes' body in a strongly foreshortened perspective, an ironic reversal of Mantegna's lamentation of Christ . The camera view does not show the position of the mourners at the foot end, but the place that is traditionally assigned to the “picker” of the dead person. Since the film, as explained below, has strong elements that deny the Christian idea of salvation , Marschall sees in these quotations a deliberate break with the original meaning of the picture , "an incompatibility between the conception of the topic and the semantic signals of the picture composition."

Camera work

Bergman uses his preferred close-ups in screams and whispers . Ließmann explains: “The camera brings people close to the faces, the protective distance is canceled .” Marschall adds that the film is “difficult to bear because the camera creates a closeness to the actors that makes it impossible to to overlook the traces of impending death that mark every adult face ” For Truffaut, this is one of the three lessons to be learned from Bergman: besides “ liberating dialogue ” and “ radical cleansing of the image ” , this is before above all the "primacy of the human face" . He explains: “Nobody approaches him as closely as Bergman. In his last films there are only mouths that talk, ears that listen, eyes that express curiosity, desire or panic. "

Although the original plan to film the film exclusively with a static camera was abandoned, changes to the camera positions usually only take place after editing. Instead of pans and journeys, only color and light often cause changes in the cinematic space.

dramaturgy

Mikael Timm attests to the film that there is “very little in terms of dramaturgical structure” . According to Marschall, the figures are “trapped in silence and outwardly uneventful” . To portray this isolated situation, Bergman uses, according to Ließmann, the "limited mobility of all figures, their slow, halting gestures" and "stretches some scenes to the edge of the bearable."

According to Marschall, the “oppressive presence at a terrible event” is interrupted by the flashbacks introduced by red screens , reminding of flashbacks of the sisters, whereby, according to Strigl, “often the borderline between what has really happened and what has just happened plays in the heads of the characters, is out of focus. ” The narrative structure is therefore not linear, but based, as Strigl notes, “ on the free flow of associations reminding of the dream ” .

According to Strigl, the flashbacks have a “bridging function” in that they are introduced several times with the respective actress looking directly into the camera. Through this “dialogue” with the audience, “the film and its characters are looking for their identity” . It remains unclear whether these flashbacks are real memories or dream and longing images. Since the cinematic space does not change during the flashbacks and the style and staging are consistently maintained, there are increasingly “moments of irritation” for the viewer, according to Marschall . The lines between reality, memory and dream are blurring.

The dreamlike character of a sequence is most clearly illustrated in Agnes' "Resurrection Scene" by Bergman. The auditory signal of the child's screaming that attracts Anna is wrong, Bergman uses an unusually fast zoom in on Agnes' face from an unusual perspective, and the scene is bathed in blurring twilight.

Sound and music

Bergman makes very little use of music in the film. Strigl notes: “The fundamental absence of music expresses the loneliness of the characters and the lack of communication among them. The music that occurs stands for closeness and warmth. ” Bach's Cello Suite No. 5 in C minor (played by Pierre Fournier ) can be heard both in the scene in which Maria and Karin kiss and caress, as well as in the Pieta Shot with Anna and the dead Agnes. According to Strigl, Bach's “deep, warm, sublime music for an instrument” embodies “the community of souls” . Chopin's Mazurka in A minor op.17 No. 4 (played by Käbi Laretei ) can be heard in three scenes: in the sequence in which Anna prays for the salvation of her deceased daughter, in Mary's flashback and in the diary scene at the end of the Films. Strigl explains that Chopin's music thus connects Anna and Agnes, the only two people who have a real emotional bond of human warmth. Maria's husband, who is the only one in the family, takes pity on the grieving Anna.

The sound design is subtle and is guided by the ticking and striking of the clocks as well as by barely audible and incomprehensible whispering voices, especially at the transitions to the flashbacks of the protagonists. Strigl explains: "Whispering and breathing [...] run like a red thread through the story and contribute significantly to its expressiveness."

Motives and themes

Illustration of soul life

Bergman commented on his childhood notion of the human soul , that for him it was a blue monster, half fish, half bird, with "a delicate skin in red tones" inside. Marschall concludes that screams and whispers play "inside the soul" , which is "in Bergmann's imagination vulnerable from within like a hymen , well supplied with blood and therefore extremely sensitive" . At a press conference in Cannes in 1973, Bergman confirmed his motivation for choosing red as the dominant color: “I thought about the cause myself and found one explanation always funnier than the other. The most banal, but at the same time most durable, is that everything together affects the inside. "

Ließmann notes that the film is “once again Bergman's attempt to approach the psychology of women” . Truffaut confirms: “In his films, women are not portrayed from the male point of view, but drawn with deep compassion and extreme delicacy, while the male figures are stereotypical.” Marschall speculates that the four women “could also be part of a single person his, irreconcilable facets of a single female figure, ” the confrontation of different traits in an unreal, inward-looking space of perception.

Autobiographical references

Bergman initially stated, for example in an interview with the newspaper Expressen on March 5, 1973, that this psychological vivisection was “a first attempt to encircle an image of the mother” . Bergman's mother Karin aroused little Ingmar's interest in the theater by having him build a puppet theater. On the other hand, as a sign of an ambivalent relationship in one of the flashbacks, the film thematizes the "impossibility of getting closer to your parents" , according to Strigl : The mother of the sisters (also played by Liv Ullmann) represents her little daughter Maria in a for that Girls face an indefinable mixture of warm affection and cold disinterest. Bergman relativized his statement that the film was about his mother in a television report from 2004. It was "a lie for the media" , a "spontaneous and careless remark" . He did it because it was very difficult to say anything about screams and whispers at all.

Bergman addresses another autobiographical reference in his book Laterna Magica . He tells of a childhood memory when the guard at a hospital played a prank on him and locked him in the morgue where a girl was laid out. The girl had only pretended to be dead to frighten Ingmar. Bergman reports that this experience “found its final form, where the dead cannot die but is forced to worry the living” , in screams and whispers . Brigitta Steene confirms that, as in many Bergman's films, the filmmaker's childhood and adolescence are dealt with, at least in tone and atmosphere: “The first glimpse into the living room of screams and whispers is a reference to that sunken world [of Bergman's childhood] with its own many ticking clocks, decorative artifacts and whispering voices that are now barely audible. "

Family conflicts

Mikael Timm analyzed cries and whispering glide "like a scalpel through the tissue in the affected part in the conflict between the sisters." . The three sisters stand up for this conflict with their opposing character traits: Agnes is a quiet, inconspicuous dreamer, Karin is tormented by, according to Marschall, “bloodthirsty self-hatred” , Maria is a self-loving femme fatale. These character traits prevent the sisters from turning to one another in love over the long term. Only the servant Anna (Marshal calls her a “simple and at the same time deep mind” ) is able to turn to the others - even beyond death.

In their incompatibility, the sisters refuse each other touch and fellowship and "fight with life," as Marschall notes. Especially because of the "painfully realistic" game by Andersson , according to Marschall, the film has an immediately pessimistic quality and "refuses [...] the viewers any consolation" . Bergman is not afraid to translate the behavior, which reaches into the neurotic, into shocking images, for example in the scene in which Karin injures herself in the intimate area with a shard. Strigl analyzes: "Karin, it seems, can only evade her husband and feel sexual pleasure by mutilating her sex."

According to Lange-Fuchs, the sisters live “without social anchoring, in a social void, in their neurotic relationships to one another.” One learns “nothing about their relationships to society that caused their extremely neurotic state.” Ließmann names the situation of women an “upper-class solitary confinement at the turn of the century” .

Death and lack of redemption

For Marschall, the ticking and beating of the clocks, which dominates the tone design, is the cinematic equivalent of "that [...] precious life passes" , only the clock in Agnes' hospital room stands still. Despite the relative calm and uneventfulness, the pressure of approaching death weighs on the protagonists, the film reflects "the paradoxical intermingling of standstill and passing time" .

However, "every thought of salvation in the Christian sense [...] is smashed" ; According to Timm, the film is determined by the "absence of God" . In the figure of the "lean, pinched pastor" who "contented himself with empty phrases" on Agnes' deathbed , Ließmann sees the "criticism of the pastor's son Bergman of the Protestant official church and its representatives." Gervais sees this figure differently, however: the pastor puts his prayer book aside and fights for his own words in order to explain the suffering and death of the woman in a meaningful way from his own, almost doubtful Christian conviction. Gervais claims that in this "very intense, beautiful scene [...] Bergman makes his peace with his own struggle, his consciousness and his bitterness, and with his own dead father, a Lutheran pastor."

The unsaved Agnes returns from the realm of the dead, clings to the living and demands love and affection from them, but even this last act of despair cannot change the behavior of the surviving sisters in the long term. Only Anna, capable of naive belief and sadness, gains strength from her trust in salvation. Timm judges Bergman's cinematic handling of aspects of the Christian faith: “The strongest of his characters [...] behave as if God existed. [...]. In the absence of irrefutable evidence sought by other Bergman characters, they rely on their own human ability. "

literature

Primary literature

  • Ingmar Bergman: Screams and Whispers in: Film Countings (selected and translated by Anne Storm). Hinstorff Verlag, Rostock 1977, ISBN 3-404-70112-7

Secondary literature

Web links

References and comments

  1. ↑ a b c Bergman 2003: p. 310
  2. ↑ a b quoted in: Lange-Fuchs: p. 211
  3. ↑ quoted in: Olivier: p. 68
  4. ↑ a b c d Screams and Whispers on the website of the Ingmar Bergman Foundation , accessed on September 20, 2012.
  5. ↑ a b Liv Ullmann: The work with Bergman in: Olivier: P. 68
  6. ↑ Bergman 2003: p. 311
  7. ↑ Liv Ullmann: The work with Bergman in: Olivier: P. 71
  8. ↑ Bergman 2003: p. 312
  9. ^ Review by Roger Ebert
  10. ↑ Critique of Variety
  11. ↑ a b quoted on bergmanorama.com
  12. ↑ quoted in: Olivier: p. 54
  13. ↑ quoted in: Olivier: p. 55
  14. ↑ Jens Golombek: Screams and Whispers in: Dirk Manthey, Jörg Altendorf, Willy Loderhose (eds.): The large film lexicon. All top films from A-Z . Second edition, revised and expanded new edition. tape V . Verlagsgruppe Milchstraße, Hamburg 1995, ISBN 3-89324-126-4 , p. 2440 .
  15. ↑ a b Lange-Fuchs: p. 212
  16. ↑ quoted in: Björkmann / Manns / Sima: p. 310
  17. ↑ cited in: Assayas / Björkmann: p. 85
  18. ↑ Bergman 2003: p. 316
  19. ↑ Peter Cowie: Actor against his will in: Ahlander: S. 160
  20. ↑ A detailed list of the awards can be found in the imdb
  21. ^ A b Susanne Marschall: Screams and Whispers in: Koebner: p. 365
  22. ^ Mikael Timm: Filmen im Grenzland in: Ahlander: P. 69
  23. ↑ Olivier Assayas: Der Bergmansche Weg in: Assayas / Björkmann: p. 99
  24. ^ Ulrich Gregor: History of the film from 1960. C. Bertelsmann Verlag, Munich 1978, ISBN 3-570-00816-9 , p.
  25. ^ Gervais: p. 119
  26. ^ Gervais: p. 122
  27. ↑ Screams and whispers. In: Lexicon of International Films . Film service , accessed March 2, 2017 .Template: LdiF / Maintenance / Access used 
  28. ^ Geoffrey Newell-Smith: History of the International Film. Verlag JB Metzler Stuttgart and Weimar. Special edition 2006, ISBN 3-476-02164-5 , p. 427
  29. ↑ Woody Allen: Life as in a mirror in: Olivier: p. 46
  30. ↑ quoted in: Töteberg: p. 687
  31. ↑ a b Strigl: p. 108
  32. ^ Marshal: p. 257
  33. ↑ Susanne Marschall: Screams and Whispers in: Koebner: p. 367
  34. ↑ a b Marshal: p. 250
  35. ^ Marshal: p. 249
  36. ^ Marshal: p. 264
  37. ↑ a b Marshal: p. 258
  38. ↑ a b Marshal: p. 256
  39. ↑ a b Marshal: p. 252
  40. ^ Gervais: p. 120
  41. ↑ a b c Susanne Marschall: Screams and Whispers in: Koebner: p. 364
  42. ↑ Lange-Fuchs: p. 211
  43. ↑ a b Marshal: p. 254
  44. ^ A b Susanne Marschall: Screams and Whispers in: Koebner: p. 366
  45. ↑ a b c d e f Heike Ließmann: Screams and Whispers in: Töteberg p. 687
  46. ↑ quoted in: Töteberg: p. 688
  47. ↑ a b c Marshal: p. 248
  48. ↑ a b Mikael Timm: Filmen im Grenzland in: Ahlander: P. 39
  49. ↑ Susanne Marschall: Screams and Whispers in: Koebner: P. 363
  50. ↑ a b c d e Marschall: p. 247
  51. ↑ Strigl: p. 83
  52. ↑ a b Strigl: p. 177
  53. ^ Strigl: p. 160
  54. ^ Strigl: p. 195
  55. ^ Strigl: p. 209
  56. ↑ Strigl: p. 199
  57. ↑ Strigl: p. 200
  58. ↑ quoted in: Susanne Marschall: Schreie und Whispering in: Koebner: p. 366
  59. ^ Marshal: p. 246
  60. ↑ quoted in: Olivier: p. 56
  61. ↑ quoted in: Björkmann / Manns / Sima: p. 311
  62. ↑ Björkmann / Manns / Sima: p. 311
  63. ↑ Bergman 2003: p. 276
  64. ↑ Brigitta Steene: Between porridge and magic - The child as Bergman's persona in: Ahlander: p. 172
  65. ↑ Strigl: p. 113
  66. ↑ a b Mikael Timm: Filmen im Grenzland in: Ahlander: P. 64
  67. ^ Gervais: p. 121
This article was added to the list of excellent articles on November 12, 2007 in this version .