Saraband
Conteúdos(1)
Depois de Cenas da Vida Conjugal, Ingmar Bergman volta a rencontrar as personagens que Liv Ullmann e Erland Josephson então personificaram (a que se juntam também Borje Ahlstedt e Julia Dufvenius), num filme que descreve como "um concerto para uma orquestra sinfónica, com quatro solistas". Trinta anos passaram desde que Marianne e Johan se separaram. Mas quando Marianne sente que ele precisa dela, decide visitá-lo na velha casa de campo onde vive. Apesar de todos estes anos sem se verem, entre os dois a cumplicidade não esmoreceu. Marianne conhece o filho de Johan, Henrik, e a filha deste, Karin. E muito rapidamente compreende que Henrik tem um amor possessivo pela filha e que Johan só sente ódio e desprezo pelo filho. Poderá a presença de Marianne trazer um pouco de serenidade a esta família atormentada? (Midas Filmes)
(mais)Críticas (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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