Viskningar Och Rop (Cries and Whispers) Page #6

Year:
1972
1,029 Views


You are my sister.

I don't want you to be alone.

Oh, how sorry I am for you.

Do you recall

when we were small...

and twilight came

as we played...

and both of us

became frightened...

and we'd cuddle very close

and hold each other tight.

It's simply the same thing now,

isn't it?

I can't hear

what you're saying.

You must come closer to me.

Closer.

Hold my hands.

I'll stay with you.

I'll stay here.

Don't cry.

You needn't be afraid.

I'll stay by her.

There's my daughter

I must think about.

She must realize that.

Also, my husband needs me.

It's pure morbidity,

disgusting, meaningless.

She's already begun to rot.

She has foul spots

on her hands.

I'll take care of her.

The funeral was tolerable.

No one wept or grew hysterical.

Thank you.

Have you finished packing, Anna?

I just have to bring

the last trunk down, ma'am.

Hurry up.

We are pressed for time.

The music was fine. Thankfully,

the bishop's address was short.

Fortunate that he had a chill

so we could call off the dinner.

Hadn't something

better be done for Anna?

Sorry, but I don't understand

what you mean.

She's looked after Agnes

for the last 12 years.

Shouldn't we offer her

a small sum...

or help her find a new place?

Out of the question.

She's young and strong...

and has had it very easy

up until now.

Her future

is not our responsibility.

I did promise her she could

take a memento with her.

- Of her own choosing?

- I think she has that right.

I do detest

that sort of spontaneity...

but you can't renege.

I think we should

speak to her right away.

Anna, you may stay on here

for a time if it is necessary.

You were promised

a memento of Agnes'.

Thank you.

I want nothing at all.

She's trying

to play a nice role.

But she won't

get anything for it.

- Stay 'til the month's end.

- Yes.

Well, if there's nothing left

for us to attend to.

Let's leave before the roads

to the station are snowed under.

Good-bye now, Anna.

Thank you.

Thank you.

Thank you for all you did.

Hurry now.

- Could I speak to you a second?

- Of course.

That evening we came close

to each other...

have you thought

about what we discussed?

Yes, of course,

I've thought a lot about it.

Could we hold

to all of our resolutions?

Dearest Karin, why on earth

shouldn't we do that?

I have no idea.

It's that everything seems

different since that evening.

I think we've become

very much closer.

What are you thinking about?

I'm thinking

about the conversation...

- No, you're not.

- I was thinking how Joakim...

hates it

if I keep him waiting.

I have no idea

why you call me to account...

as if I were on trial

for my thoughts, Karin.

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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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