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Persona 1966 123movies

Persona 1966 123movies

Oct. 18, 196683 Min.
Your rating: 0
7 1 vote

Synopsis

Watch: Persona 1966 123movies, Full Movie Online – A young nurse, Alma, is put in charge of Elisabeth Vogler: an actress who is seemingly healthy in all respects, but will not talk. As they spend time together, Alma speaks to Elisabeth constantly, never receiving any answer. Alma eventually confesses her secrets to a seemingly sympathetic Elisabeth and finds that her own personality is being submerged into Elisabeth’s persona..
Plot: A young nurse, Alma, is put in charge of Elisabeth Vogler: an actress who is seemingly healthy in all respects, but will not talk. As they spend time together, Alma speaks to Elisabeth constantly, never receiving any answer. The time they spend together only strengthens the crushing realization that one does not exist.
Smart Tags: #experimental_film #silence #patient #mute_character #intercepted_letter #sex_talk #torn_photograph #reading_a_letter #minimal_cast #monologue #psychiatry #meta_film #nihilism #actress #nurse #beach #medical #dual_personality #incommunicability #sleepless_night #reference_to_electra


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Ratings:

8.1/10 Votes: 119,019
91% | RottenTomatoes
86/100 | MetaCritic
N/A Votes: 1718 Popularity: 19.953 | TMDB

Reviews:

The most ambiguous, inviting, surreal, whatever-you-can-think philosophical experiment by Bergman
Writing from a hospital bed (as he did with Wild Strawberries, two of these being films strung out from anguish), Ingmar Bergman put down almost anything that was in his head to start with (the first five minutes- some of the most startling and thoroughly symbolic minutes he’s ever directed), then transposed into a story of two women, or one. This was one of the landmark ‘art-films’ of the 1960’s, with hints of the horrors of war (in one memorable scene, Elisabeth looks at a television screen at images of death), introspection regarding sex and identity, existentialism, and what it means to be an actor.

Some of the more famous directors in history have a kind of ‘notorious’ film, by which many people who may not know the bulk of their works know them by one particular work (with Hitchcock it could be Psycho, Lucas’ Star Wars, Bunuel with Un chien Andalou, Breathless). This could, arguably, be the one for Bergman, despite a couple of others likely also holding claim to that title. In other words, this could be a good place to start with the director if you’re not familiar with his films, or it might not be. But keep this in mind- it’s one of his most unique departures as a filmmaker.

Two of his leading ladies (and, ahem, loves), Bibi Andersson and 25 year-old Liv Ullmann, star as a nurse and an actress, who for the bulk of the film are at a Doctor’s cottage as the nurse tries to help and likely cure Elisabeth of her ailment (froze on stage, silent but incredibly observant). In the meantime, Alma the nurse, in a role that gives Andersson more talking-points than any other film she’s been in, goes through some hurtful parts of her past, and just tries to understand her counter-part. At one point, a vein of existentialism is ruptured thoughtfully, when Alma gets Elisabeth to say “No, don’t”, when she threatens her. When I first saw this film, I knew this scene would come after reading Roger Ebert’s review. But I had no idea it would hit me like it did. There is such a great, compelling tension between these two that Andersson and Ullmann convey that it is what makes the film work. Any lessor actresses might fumble up the whole lot of it.

While it isn’t my favorite Bergman film (though it is unfair to pick favorites sometimes when it comes to someone as huge in the cine-consciousness as him), there are many things that had me come back to it after being a little awe-struck on my first viewing last year. For one thing, there’s Sven Nykvist, with one of the strongest, most varying eyes in all of European cinema.

In the first five minutes, of course, there is some fascinating stuff, but even in the scenes of long dialog and monologue (i.e. the unforgettable speech about being on the beach from Alma), where the lighting is so delicate and sharp with the shadows that you really feel like the weight of this situation is closing in on the characters. Or, of course, when the two actresses’ faces are super-imposed, which can be interpreted in more ways than one (either as a grand statement, or as pretension, or something else). I was also very moved by the pace of the film, how it fills each minute (it’s not a long movie) in ways that some movies just float minutes by.

Now, this is the kind of Bergman film that can’t be turned on any time (not to make it sound un-watchable, it certainly isn’t). But it does ask to be viewed when in a certain frame of mind- if you’re looking for a movie to show off to your friends, like it’s the Euro/avant-garde version of Fight Club minus the violence, look away. It poses a good many questions for a viewer, especially one who knows of Bergman’s themes he’s explored before and after this film’s release. How do we feel, or know we’re feeling? What keeps us closed in? Why do we hurt? And are we only one person at a time?

It’s all the more puzzling that Bergman’s climax isn’t a very easy one (not as doomed as with Seventh Seal but not as cheerful as Fanny and Alexander), as Alma has another monologue with Elisabeth, about her son she hasn’t seen in a long while- this famously seen from two different angles, one after the other. Furthermore, it is arguably Bergman’s most self-conscious film to date (the commentary on the DVD carries it well), however it may not be as off-putting as with some of Godard.

To put it another way, there are two sides to the subject matter, the film, the director, and the audience.

Review By: Quinoa1984
My extended review of the film
After my first viewing of ‘Persona’ I was unsure what exactly to make of it. Even after a second viewing, it is still hard to say what exactly ‘Persona’ is about. This is not a negative trait though, but rather a curious characteristic. In fact, the overall film is perhaps best described as “curious”. I would not call ‘Persona’ a flawless film, but regardless of whether Bergman’s film is flawed or flawless, it stimulates one to think, and that is certainly a good quality. I will now provide some thoughts on the film, in light of having viewed it a second time. I do not know how valid all of my comments are – they are just some thoughts on the material. Unfortunately it is hard to discuss the film without possible spoilers, so be warned: my review may spoil a fresh experience of the movie.

First and foremost, I would label ‘Persona’ as a horror film. After my initial viewing of the film, I had it down as a psychological drama, but now I think that it not only has elements of horror, but that it is dominantly a horror film. I guess it depends a lot on how you view the twist. I have heard other discuss how the two characters, Alma and Elisabeth, share the same personality – that they are the same person, but represent two personae for which every person has: the outer self (Alma, who talks) and the inner self (Elisabeth, who listens). This is quite an interesting theory, and after discussing it with some others who had seen the film, I became convince of the theory that Alma and Elisabeth are in fact the same person the whole time through.

Now, it does not quite seem so clear. Watching it again, I was on the lookout for clues. There are some hints in that direction – the way the two women interact when together at the seaside property, the way that they seem to be opposites, but yet share similar ideas. The whole time I could sense communication even though, for the most part, only Alma was talking. However, Bergman throws in a number of elements that violate the theory that they are both the same person. Often he forces us to take the third person, stopping us from entering into the minds of either character. There is a female doctor in the mix, who communicates with both Alma and Elisabeth as if they are different persons. Then, there is also some narration by a man when the two women arrive at the seaside home.

Yet, another theory comes into play, and a rather satisfying one. In one of their conversations, Alma tells Elisabeth that she feels that she could turn into her. She feels that they are so alike in subtle ways that they could easily become each other. Following the announcement of this idea, we hear Elisabeth finally say something that Alma ignores, but then repeats herself. Are they starting to become one another, like Alma had just talked about? It seems as if Elisabeth and Alma were separate persons, however something supernatural, for whatever reason, occurred and they suddenly either became one person or switched personalities.

I still find it hard to work out what exactly Bergman is getting at, and his encouragement of the third person approach vexes me. I would not flaw the film too much for that though. Perhaps it was meant to be ambiguous. Bergman does a great job filming the material, and for skill this definitely gets top marks. The setting is excellent, and strangely reminiscent of ‘The Seventh Seal’ (plus notice how Ullmann looks like Death at times!). The bleakness of the sets is captured perfectly in black and white, with many close-ups to show the intimacy of the story. There is also one brilliantly filmed shot, in which the camera pans for an unbroken half minute or more, as the two women run across the beach.

Bergman’s vision of the material is startling good. When Mr. Vogler arrives on set, there is some triangular framing going on, with interesting shots positioning Elisabeth in a removed position from Alma and her husband, but yet with all three of them in frame. There is also the repeated segment in which we see the reaction of Elisabeth when Alma is talking to her, and then it switches to show the facial expressions of Alma. I would not praise all of Bergman’s techniques here though. Some of his shots just go on from an incredibly long time without much reason, which could cause one to wonder whether he was just trying to buff up the short running time. There is a shot towards the beginning of the film in which Ullmann stares blankly for a whole minute or more, and there is another shot which focuses on an irrelevant task of cleaning up a broken pot. Some shots like those could have been cut shorter. The other part of Bergman’s vision that I am not fond of is the beginning segment. While the child could possibly have meaning, some of the other images in the montage, such animal killings, crucifixions and cartoons, seem thrown in for the sake of it. The intermission, while rather chilling, annoys me a bit too. I am not sure if it was inserted in the best possible place, or how meaningful its images are. But that’s all minor stuff.

One last thing to praise is of course the acting. It is the acting, not the dialogue, which makes the film so intense during its middle section. When Andersson was describing her rendezvous on the beach, I was concentrating on her face, and that was telling me more than the subtitles. Ullmann also has a very expressive face, perfect for her somewhat muted character. I wish I could say more here, but I don’t set the word limit.

Review By: sol-

Other Information:

Original Title Persona
Release Date 1966-10-18
Release Year 1966

Original Language sv
Runtime 1 hr 25 min (85 min), 1 hr 23 min (83 min) (USA)
Budget 0
Revenue 0
Status Released
Rated Not Rated
Genre Drama, Thriller
Director Ingmar Bergman
Writer Ingmar Bergman
Actors Bibi Andersson, Liv Ullmann, Margaretha Krook
Country Sweden
Awards Nominated for 1 BAFTA Award11 wins & 5 nominations total
Production Company N/A
Website N/A


Technical Information:

Sound Mix AGA Sound System
Aspect Ratio 1.37 : 1
Camera Mitchell BNC
Laboratory Film-Teknik, Sweden
Film Length 2,320 m (Sweden)
Negative Format 35 mm
Cinematographic Process Spherical
Printed Film Format 35 mm, Digital

Persona 1966 123movies
Persona 1966 123movies
Persona 1966 123movies
Persona 1966 123movies
Persona 1966 123movies
Persona 1966 123movies
Persona 1966 123movies
Original title Persona
TMDb Rating 8.3 1,718 votes

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