She’s strong, self-assured, and vocal about her demands. She’s not sure of herself, and one gets the idea that all of this is entwined in the uneasy relationship with her mother. Their relationship is strained: even before Charlotte arrives at Eva’s home, we learn that Eva resents her yet tries to hide it with simplistic love.Įva looks more like a little girl with pigtails and round glasses. Liv Ullman plays Eva, a 40-year-old married woman, who hasn’t seen her mother, Charlotte (Ingrid Bergman) in seven years.
Bergman’s idea of cinematic climax isn’t that a moment composed of one singular event but of small, seemingly quotidian acts that reveal the inner worlds of humans.īergman’s 1978 film, Autumn Sonata, is one long, extended existential confrontation between a mother and a daughter. In all of his films, it’s the encounter (sometimes aggressive and mad, sometimes gentle and loving) that matters most. Bergman, a European director wholly separated from the American tradition, was rarely interested in “movie magic” but in pure confrontation, whether between human beings or God. It sounds treacly but its sentimentality is harmless. Common Hollywood statement is that movies are magic.
Ingmar Bergman was a magician who looked through the lantern and created reality.
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