The Ingmar Bergman Trilogy (Through a Glass Darkly / Winter Light / The Silence) (The Criterion Collection)

Perhaps the most amazing thing about Bergman's huge body of work is how his style continued to grow and evolve, evenas he was drawn again and again to the great questions in life; is there a God? How do we face death? What is themeaning of being here? Can we be happy? Can people be kind to each other, or are we doomed only to cause harm? Is love real?Yet, while the themes stay consistent, how he approached them varied wildly over 50 years of film-making, from the uber-experimental,groundbreaking poetic surrealism of "Persona", to the highly symbolic "Seventh Seal", to his later works, more grounded in naturalism andday-to-day realism, but no less profound for it. Pieces like "Scenes From a Marriage", or "Cries and Whispers".These three films, which I've heard referred to as "the Faith Trilogy", "The Silence of God" trilogy, or simply "The Trilogy" as Criterion labelsthem, represent a paradoxic step forward from his earlier work. On one hand they are more poetic, subtle, works - even the highly surreal"The Silence" is more fragile and etherial than, say, the earlier "Virgin Spring". The film making is more stylized, from the never moving cameraof "Winter's Light" with it's very self conscious framings, and six minute long monologues, to the almost Fellini-esque "The Silence".On the other hand, the performances themselves are even more grounded in the kind of understated hyper-realism that was Bergman's evergrowing trademark.While not my personal favorites of Bergman's work (I am most attached to his later pieces) these are still must-see, if not 'easy' films, for anyfan of grown up thoughtful film-making. The direct depth with which they ponder the meaning of existence, and the depths of despair thatstruggle for meaning can bring is breathtaking, if sometimes hard to take. The work of his actors is consistently amazing, and the images are uniqueand unforgettable.These are films that only grow with time, and re-visiting, so owning copies is worth-while. There's no way to get all the levels of theseexistential explorations at one go. And the Criterion transfers - as is almost always the case - are first rate.Some specific notes on the films from my 'film diary':Through a Glass Darkly (1961)My personal favorite of Bergman's earlier works, I find this tremendously moving and haunting in equal degree.Bergman is still dealing with some of the same big issues (Is there a god?, What's the meaning of art?, etc.) but now on a much more humanlevel. The preachiness is gone, and the characters are no longer archetypes. Just human beings struggling with the difficulties of living.Phenomenal, understated performances all around, and beautiful cinematography more than compensate for occasional hints of staginess inthis chamber drama with just 4 characters; a father, his son and schizophrenic daughter, and her husband who loves her in spite of her illness.All the characters are human, identifiable, occasionally ugly, and always true. This film led to me thinking much more deeply about my ownlife then the impressive, but more on-the-nose cosmic questioning of 'The Seventh Seal' or even 'Wild Strawberries'.Winter Light (1962)I was slightly less affected by this than by `Through a Glass Darkly', which opens the trilogy, though a number of critics rank it higher, anda couple call it one of the greatest films ever made.Certainly, once again the acting is terrific, and the cinematography superb. More even than `Through a Glass Darkly' this film minesthe subtle shadings of the human face to an almost supernatural degree.But this film returns to Bergman's early tendency to be more on-the-nose with his themes. It's the story itself. A pastor haslost his faith, in the face of God's silence at the dark things of life. But in this story, just about everyone has surrendered to thatsort of hopeless depression, so the film feels more one note, more talky and `heady' than `Through a Glass Darkly', if more quietand subtle in its approach than the early Bergman works.It's not just that the characters don't change that bothers me, its that it feels clear from the outset there is no hope of change, whichmade me feel I'd already gotten the power of the film's questioning and aching loss (which is still considerable) long before its final moments.None-the-less, how rewarding to see any film that is about the big questions, and addresses them in a serious, beautifully made way.And I do find it haunting me since I've seen it.The Silence (1963)My first reaction was the same I've had to many of Bergman's earlier films: deep admiration, but not personaladoration. In this case, the more extreme, self-conscious surreal style threw me off. This feels more likesomething by Bunuel, Fellini, Beckett or Lynch (all of whom I love).Two sisters, polar opposites - one sensual, emotional, promiscuous, self-centered, representing the body, the id.The other, intellectual, sickly, sexually isolated stands for mind or super ego. The child of one, perhaps 8 yearsold, is accompanying them on a train trip, heading home. We never know where they're coming from or whythey went. They stop in a city clearly preparing for war, or under some sort of military occupation. They stayin a baroque but almost abandoned hotel, unable to communicate with anyone, since this unknown land has alanguage none of them speak.While one sister picks up lovers, and the other languishes ill in bed, the boy explores the creepy hotel ("The Shining"was definitely influenced by this), making friends with a circus full of dwarf performers, who, pointedly, are the mostnormal people in the film.All of this is done with very little dialogue (to the point where the effect feels forced and self- conscious at times). Ihad a hard time clicking in while watching the film, but images and moments have really stuck with me, and there'sgood reason why so many intelligent critics think it's a masterpiece. And certainly the exploration of surrealism herehelped prepared him for the leap to one of his greatest achievements, "Persona".

A Film Trilogy by Ingmar Bergman probably considered one of the best cinematic trilogies ever, if not the films alone are considered to be some of the best film ever made. Criterion gives this trilogy an appropriate treatment as they release all three films together with a documentary.Through a Glass Darkly is the first installment of Bergman's Trilogy that takes place on an island off the coast of Sweden where a family is having a vacation at their summer home. The father, David (Gunnar Björnstrand), has recently returned from one of his many trips and his closest family is present. His family consists of his daughter Karin (Harriet Andersson), who is struggling with a mental illness that is gradually getting worse, his son Fredrik (Lars Passgård) who is in the middle of his scholarly diversion, and Martin (Max von Sydow) who is Karin's husband and a medical doctor. As the siblings rediscover the family home, they recall blissful moments from their childhood, however, the happiness brings back a strong sense of melancholy that threads their memories. These depressing memories of an absent father and his shortcomings as a care-giver have resulted in deep scars in the sibling's psyche. Reminiscence of their agonizing past affects Karin's mental health as it is deteriorating at a much faster pace, which brings the family members regret and grief. This then causes anguish among all the present family members as they are all affected by Karin in one way or another. Through a Glass Darkly is the beginning of a trilogy where grief and pain commence, which will be followed by Winter Light and Silence. Bergman demonstrates a thorough understanding of the human consciousness as he directs Through a Glass Darkly where he dissects the social structure of a family and its affects on its members. This results in an outmost brilliant cinematic experience.Winter Light is the second film after Through a Glass Darkly. Pastor Ericsson (Gunnar Björnstrand) is suffering an enduring cold and he must hold mass for an ever-shrinking congregation as he is facing a spiritual crisis of his own. After the mass, Pastor Ericsson attempts to withdraw due to his cold, but is confronted by Jonas Persson's wife. It appears that Jonas (Max von Sydow) is suffering from severe anxiety and depression. However, Pastor Ericsson is inept in helping Jonas's emotional distress and instead addresses his own divine doubts about God. The pastor is also pondering his current affair with Märta (Ingrid Thulin) that he is thinking of ending, but Märta insists that they should continue to see each other. As a result, Pastor Ericsson is meditatively squeezed in between God and Märta as he has difficulty deciding on what he wants. He desires Märta's love as he knows it offers him comfort on a daily basis, but it goes against his ideal perspective of how to serve as a minister. Winter Light is not as grandiose as Bergman's earlier films (e.g., Naked Night and Seventh Seal). It is apparent that he has taken a new path as he is directing this film in a much smaller milieu. The setting is a personal place where catharsis is permitted without interruptions as Pastor Ericsson is facing his own demons. Winter Light serves as an enlightening and purgative link between Through a Glass Darkly and Silence. In the end, Winter Light offers an ultimate cinematic experience for self-reflection as it opens doors where questions must be asked.Silence is the third film after the succession of Through a Glass Darkly and Winter Light. The sisters, Ester (Ingrid Thulin) and Anna (Gunnel Lindblom), are stranded in a foreign city with Anna's son, Johan. Ester is a neurotic over-achiever that often attempts to look at the rationality of things and Anna is a careless thrill-seeker that acts on her impulses. The two of them have unresolved issues that reach as far back as their childhood which have left them in an emotional turmoil. These issues cloud their judgment on how to approach each other as if they were lost within the emotional confusion caused by these issues. This confusion is left in a vacuum where their bitterness is growing in silence. Johan is placed in the middle of this silence as a compassionate shadow between the sisters, which encourages them to maintain a civil harmony. The sisters' only hope for healing is the innocence of Johan's curiosity which is untouched by the worldly cynicism that controls most of the sisters beliefs and values. Johan's innocence is full of acceptance, understanding, life, and love, which is something that Ester and Anna have difficulty in sharing. In addition, the silence between them sets their minds and thoughts pessimistically adrift and is elevated through their personal cynicism. Silence uses cinematography that is unmatched as it enhances emotional turmoil that the sisters are experiencing through the use of provoking camera angles, close-ups, and pans. In addition, the frequent play with light and shadows boosts emotional situations of the characters and enhances how they are perceived by the audience. The lack of sound enhances moments when sound is utilized. Overall, Bergman has manipulated elements of cinema in Silence to perfection as he leaves a brilliant cinematic experience for the audience.These three films are perfectly summed up with the fourth film, which serves as a documentary for the Trilogy, by Vilgot Sjöman (I Am Curious Yellow and I Am Curious Blue) who served as intern during the 50s for Bergman.In the end, I appreciate these films as they develops an understanding of why Bergman belongs with the cinematic geniuses of all time such as Antonioni, Chaplin, Clouzot, Fassbinder, Fellini, Godard, Kiarostami, Kieslowski, Kurosawa, Lang, Powell, Pressburger, Renoir, Truffaut and many others.

These three Bergman films especially The Silence, are some of my favourite of his canon! Criterion have packed into this set magnificent documentary of Bergman directing Winter Light so that immediately after watching the master at work, you can dive straight in to the film and see the final results. Such a great insight into his style of film making which can be used to study all of his later films. This is a great set that is well worth the price. A must have if you love Bergman.

I saw all four of these movies and I couldn't even tell you what happened in them. They're so boring. Nothing interesting happens in any of them. Though they're short, clocking in at around 80 to 90 minutes, they feel like an eternity, like a bad dream you can't wake up from. These movies suck. Don't buy them. They're not worth it.

Very nicely packaged and excellent production in both picture quality and sound. Images of human faces are particularly used communicatively by the camerawork. Face acting only surpassed by George C. Scott in Dr. Strangelove. Winter Light holds up especially well over the years as depictions of mans separation from God or other Ultimate meaning of your choice. Good notes and an additional made for TV movie is an excellent addition.

Gute Qualität von den einzelnen Filmen. Jedoch die Verpackung ist leider etwas wenig repräsentativ. Ansonsten eine wundervolle Sammlung der Werke dieses großartigen Filmemachers.

Man sollte etwas introvertiert sein um die Filme von Bergmann zu verstehen. Es sind keine Actions oder Unterhaltungsfilme.Ich kenne die Filme von meiner Jugendzeit und es dreht sich alles um das menschliche Innenleben vermischt mit Fantasien und TräumereienDie Box an sich ist für den Preis von knapp 60Euro sehr günstig. Mancher Film hat etwas mehr gelitten an Qualität aber die Handlung ist meiner Meinung entscheidend. Auch finde ich die DVD Über Leben und Arbeit mit einem persönlichen Gespräch des Altmeisters aufschlußreich. Klare Kaufempfehlung für Menschen die mehr Tiefe und Anspruch sehen und erleben möchten.