The Silence
[DVD]

Description

PRODUCT DESCRIPTION The third part of Ingmar Bergman's trilogy of faith (the others are 'Winter Light' in 1961 and 'Through the Glass Lightly' in 1963). The relationship of two sisters Ester (Ingrid Thulin) and Anna (Gunnel Lindblom) reaches breaking point when they arrive in a strange country and stay in a large hotel, empty but for a troupe of dwarf entertainers. Ester is suffering from a terminal disease and has become overly protective of Anna and, to escape, Anna goes out to find a man and ends up bringing back a waiter to her room. This then proceeds to both arouse and anger Ester culminating in a bitter and violent argument between the sisters. AMAZON.CO.UK REVIEW The third in Ingmar Bergman's trilogy of "chamber works" featuring characters in isolated, existentially dramatic settings, The Silence, made in 1963, is set in Timoka, a fictional Eastern European town with its own made-up language. Stylistically more sensual and maximal than its austere predecessors Through a Glass Darkly and Winter Light, it was both a success and a scandal in its day, featuring as it does scenes of masturbation, sex and even lesbian eroticism. Jorgen Lindstrom plays Jonas, a small boy travelling with his mother Anna (Gunnel Lindblom) and aunt Ester (Ingrid Thulin). His aunt is dying of consumption, but his mother is a great deal more alive and smouldering with sexual energy. As the tension between the bedridden aunt and the frustrated mother mounts, Jonas roams the hotel corridors and chances almost surreally upon the hotels only other occupants--an elderly floor waiter and a troupe of performing dwarves. Meanwhile, his mother is picked up by a waiter in a cafe, is seduced by him in a church then engages in a traumatically miserable bout of hotel sex. Sultry, full of incident and dreamlike cinematic spectacle (the performing dwarves, a rumbling tank, an overheated railway carriage) there's a sense of aimlessness and oblivion about The Silence, in which the godlessness of the universe, though never discussed, is implied throughout the movie. There is, however, a note of humanist hope struck in the conclusion, more convincing than the platitudinous finale of Through a Glass Darkly. On the DVD: Bergman's notes explain how he had long nurtured the notion of setting a movie in an imaginary city where "the rules of society cease to exist", and how the young boy's curious wanderings were inspired by his first exposure to Stockholm as a child. Critic Philip Strick's notes reveal that Greta Garbo had at one point been mooted to make a return to the screen in this film and that in certain countries, censors insisted on separate screenings of The Silence for males and females. --David Stubbs

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