Persona film från 1966

Persona (film)

Persona existerar en svenskdramafilm från inom regi från Ingmar geolog. Filmen handlar om numeriskt värde kvinnor, sköterskan Alma samt skådespelerskan Elisabet, spelade från Bibi Andersson och Liv Ullmann. Även Margaretha Krook och Gunnar Björnstrand medverkar i mindre roller.

Handling

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Alma (spelad av Bibi Andersson) äger blivit arbetare som sköterska åt skådespelerskan Elisabet Vogler (Liv Ullmann). Elisabet existerar skådespelerska samt vid enstaka föreställning från Elektra blev hon plötsligt helt tyst. Dagen efter kom denna inte mot repetitionen samt har varit helt tyst i tre månader. vid sjukhuset äger man ej kunnat hittat något fel på hon, varken fysiskt eller mentalt. Hon ligger helt apatisk i sin sjuksäng medan Alma pysslar om hon, hämtar matbrickan och öppnar gardinerna. då Alma träffar på radion går detta en teaterpjäs och Elisabet slår snabbt av radion.

När Elisabet fått en brev får Alma studera upp detta högt. Hennes make skriver och frågar om hennes tystnad beror på något som denne gjort. Elisabet river sönder det foto på ett liten pojke som medföljer brevet.

Överläkaren (Margaretha Krook) tycker ej att detta är någon idé för att Elisabet existerar kvar dock erbju

“Persona” () is a complex work among Ingmar Bergman’s most creative filmmaking phase, which effectively commenced with the Faith Trilogy—“Through a Glass Darkly” (), “Winter Light” (), and “The Silence” (). Film professor and historian Thomas Elsaesser said, “&#;writing about Persona has been for film critics and scholars what climbing Mount Everest is for mountaineers: the ultimate professional challenge.” Despite being under 90 minutes, “Persona,” the minimalist psychological drama, twists and bends reality to offer an artistically haunting depiction of human frailty and incomprehensible cruelty.

Bergman’s regular actors, Liv Ullmann and Bibi Andersson, powerfully embodied the two female characters at its center. The characters’ existential doubt and expression of despair at the nothingness of life still possess the power to arouse fear. While “Silence of God” is a pivotal theme in Bergman’s previous masterpieces, “Persona” more or less deals with the art’s inability to provide solace for the human soul and showcases the self-destruction of an artist through hypocrisy and cruelty. Our lives are made up of assuming various personae depending upon the circumstances. Wha

Shakespeare used six words to pose the essential human choice: &#;To be, or not to be?&#; Elizabeth, a character in Ingmar Bergman&#;s &#;Persona,&#; uses two to answer it: &#;No, don&#;t!&#; She is an actress who one night stopped speaking in the middle of the performance, and has been silent ever since. Now her nurse, Alma, has in a fit of rage started to throw a pot of boiling water at her. &#;No, don&#;t!&#; translates as: I do not want to feel pain, I do not want to be scarred, I do not want to die. She wants . . . to be. She admits . . . she exists.

&#;Persona&#; () is a film we return to over the years, for the beauty of its images and because we hope to understand its mysteries. It is apparently not a difficult film: Everything that happens is perfectly clear, and even the dream sequences are clear&#;as dreams. But it suggests buried truths, and we despair of finding them. &#;Persona&#; was one of the first movies I reviewed, in I did not think I understood it. A third of a century later I know most of what I am ever likely to know about films, and I think I understand that the best approach to &#;Persona&#; is a literal one.

It is exactly about what it seems to be ab