Viskningar Och Rop (Cries and Whispers) Page #2

Year:
1972
951 Views


And look under your eyes.

The sharp,

scarcely noticeable lines...

of your impatience

and your ennui.

Can you actually see

all of that in my face?

No, but I feel it

when you kiss me.

I think

you're joking with me.

It's evident

where you see it.

- Really? Where?

- You see it in yourself.

Because we're so alike,

you and I.

You mean the selfishness?

Coldness? Unconcern?

I usually find

your arguments boring.

Is there no absolution

for such as you and I?

I haven't any need

of being pardoned.

Good morning, sir.

Good morning.

Thank you.

Good morning, Joakim.

- Welcome home.

- Good morning, Maria.

Anna's little girl

is quite ill, you know.

The doctor

was here last night.

He sends you his regards...

and hopes you can get together

to play chess again.

The weather was so bad

I asked him to stay overnight.

He left early this morning

before we were up.

Did you enjoy yourself in town

or was there too much work?

We have an invitation

from the Egermans.

They'd be delighted if we

stayed with them at Easter.

I think I would enjoy that.

It would make for a change.

What do you think about it?

Well, we'll see.

Run along and play.

Joakim.

Joakim.

Help me.

Help me, please.

No.

Anna.

Do you hear?

I only hear the wind

and the clocks ticking.

No, it's something else.

I don't hear anything else.

I'm freezing.

Good night.

Anna.

Come here.

Anna.

Come to me.

You're so far away.

Come here.

Close to me.

Do I smell very bad?

- It hurts so much, Anna.

- I know, Agnes.

I'm going to stay with you.

- It will all be all right.

- It hurts so badly.

You don't have to worry

when I'm here.

You know that.

The pillow's so warm.

We can take the other one.

Come. Let's see.

Can you lift yourself up

a little?

Can you slide down now?

Is it better so?

Is it better?

You are so good to me.

Yes?

What's the matter?

Agnes is worse.

I don't think she's conscious.

She's breathing very strangely.

I'll get my shawl.

Karin!

- Karin!

- What is it?

- Agnes is worse.

- I'm coming.

- I'll go for the doctor.

- I'll go with you.

Anna! Anna! Anna!

- Where's the doctor?

- He wasn't home.

All right, Anna.

You had better get dressed.

I'll stay with her.

Anna!

I'm much better now.

Only rather warm.

Would you like

to have a wash now?

- And put on a clean gown?

- Yes, thank you.

- I'm a little thirsty.

- Yes, of course.

- Shall I read a little?

- Oh, I'd love it.

"Chapter 34, in which

Mr. Pickwick thinks...

"he had better go to Bath,

and goes accordingly.

"'But surely, my dear sir,'

said little Perker...

"as he stood

in Mr. Pickwick's apartment...

"on the morning

after the trial.

"'Surely you don't really mean,

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Ingmar Bergman

Ernst Ingmar Bergman (Swedish pronunciation: [ˈɪŋmar ˈbærjman] ( listen); 14 July 1918 – 30 July 2007) was a Swedish director, writer, and producer who worked in film, television, theatre and radio. Considered to be among the most accomplished and influential filmmakers of all time, Bergman's renowned works include Smiles of a Summer Night (1955), The Seventh Seal (1957), Wild Strawberries (1957), The Silence (1963), Persona (1966), Cries and Whispers (1972), Scenes from a Marriage (1973), and Fanny and Alexander (1982). Bergman directed over sixty films and documentaries for cinematic release and for television, most of which he also wrote. He also directed over 170 plays. From 1953, he forged a powerful creative partnership with his full-time cinematographer Sven Nykvist. Among his company of actors were Harriet and Bibi Andersson, Liv Ullmann, Gunnar Björnstrand, Erland Josephson, Ingrid Thulin and Max von Sydow. Most of his films were set in Sweden, and numerous films from Through a Glass Darkly (1961) onward were filmed on the island of Fårö. His work often deals with death, illness, faith, betrayal, bleakness and insanity. Philip French referred to Bergman as "one of the greatest artists of the 20th century [...] he found in literature and the performing arts a way of both recreating and questioning the human condition." Mick LaSalle argued, "Like Virginia Woolf and James Joyce in literature, Ingmar Bergman strove to capture and illuminate the mystery, ecstasy and fullness of life, by concentrating on individual consciousness and essential moments." more…

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Submitted on August 05, 2018

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