Post by klep on Dec 21, 2015 7:33:48 GMT -6
MOVIE OF THE WEEK: Fanny & Alexander
THIRD WEEK OF THE HOLIDAYS
Fanny & Alexander is not a watch for the faint of heart. Its short cut is 188 minutes long, but to see director Ingmar Bergman's preferred version requires a commitment of just over five whole hours. It's worth it though, to let this rich fairy tale and portrait of a family breathe and sink in to your consciousness.
For our purposes, the first act is the most relevant as it occurs on Christmas Eve into very early Christmas morning. Bergman introduces us to his cast as we go along, meeting the members of the sprawling Ekdahl clan, a very wealthy family in early 20th century Sweden. But though they are wealthy, they are mostly a warm and loving bunch. The family all care for one another and their long-serving maids, who eat with them at Christmas Eve supper. They aren't perfect; Gustav is a womanizer whose dalliances are tolerated by his wife, and Carl is debt-ridden and self loathing - lashing out at his wife in his misery. But overall they're a family anyone would be happy to be a part of.
But this paradise cannot last, and in the second act Fanny and Alexander's father Oscar dies. Most of the rest of the film is seen from young Alexander's perspective - though there are some digressions - as his mother first withdraws in grief then remarries an abusive bishop (seriously people, if a partner ever asks you to give up your entire life in order to be with them, get the fuck out). It is here that Bergman really starts getting down to the meat of things, as his father's death starts Alexander down a path of questioning his faith and the nature of God.
Alexander lives in a world that is at least a little supernatural. He sees and converses with a number of ghosts as he goes through his tribulations. He prays for his step-father to die. He wonders why God won't do something to end his torment. When his torment is ended - by fate, coincidence, Alexander's will, or God - he is afraid of the answers to his questions.
Ultimately Bergman comes down on an optimistic note, though not with its ominous undertones - the last ghost Alexander sees in the film is his stepfather. At this point I wonder how much the ghosts are meant to be a metaphor for the lasting influence important figures in our lives can have on us. As to the nature of God Bergman offers no concrete answers; mostly seeming to suggest that God is where we find him. The Ekdahls draw their faith and their strength from their extended group of family, friends, and employees. Alexander may not have his own answer yet, but hopefully he's back in a place where he can find a good one.
So at this point I've only seen the extended TV cut and I don't see myself going back for the theatrical cut any time soon. Still, I'm curious to know what the differences are and how well the shorter version plays. Have any of you watched both? What are the differences and do they truly weaken the film?
OUR NEXT MOVIE OF THE WEEK for 12/28: TANGERINE
LAST WEEK OF THE HOLIDAYS
Our last Movie of the Week of Holiday month and indeed the entire year is this 2015 film that has been making many year-end best-of lists. It is available on Netflix Instant and Amazon Instant Video, though it is not free for Prime members.
NEXT PICTURE SHOW PODCAST for 12/22 and 12/24: Augirre, The Wrath of God/The Revenant
This week the Next Picture Show podcast discusses a pair of films about man's struggle against nature. We'll spare a day this week to discuss Werner Herzog's Augirre, The Wrath of God.
THIRD WEEK OF THE HOLIDAYS
Fanny & Alexander is not a watch for the faint of heart. Its short cut is 188 minutes long, but to see director Ingmar Bergman's preferred version requires a commitment of just over five whole hours. It's worth it though, to let this rich fairy tale and portrait of a family breathe and sink in to your consciousness.
For our purposes, the first act is the most relevant as it occurs on Christmas Eve into very early Christmas morning. Bergman introduces us to his cast as we go along, meeting the members of the sprawling Ekdahl clan, a very wealthy family in early 20th century Sweden. But though they are wealthy, they are mostly a warm and loving bunch. The family all care for one another and their long-serving maids, who eat with them at Christmas Eve supper. They aren't perfect; Gustav is a womanizer whose dalliances are tolerated by his wife, and Carl is debt-ridden and self loathing - lashing out at his wife in his misery. But overall they're a family anyone would be happy to be a part of.
But this paradise cannot last, and in the second act Fanny and Alexander's father Oscar dies. Most of the rest of the film is seen from young Alexander's perspective - though there are some digressions - as his mother first withdraws in grief then remarries an abusive bishop (seriously people, if a partner ever asks you to give up your entire life in order to be with them, get the fuck out). It is here that Bergman really starts getting down to the meat of things, as his father's death starts Alexander down a path of questioning his faith and the nature of God.
Alexander lives in a world that is at least a little supernatural. He sees and converses with a number of ghosts as he goes through his tribulations. He prays for his step-father to die. He wonders why God won't do something to end his torment. When his torment is ended - by fate, coincidence, Alexander's will, or God - he is afraid of the answers to his questions.
Ultimately Bergman comes down on an optimistic note, though not with its ominous undertones - the last ghost Alexander sees in the film is his stepfather. At this point I wonder how much the ghosts are meant to be a metaphor for the lasting influence important figures in our lives can have on us. As to the nature of God Bergman offers no concrete answers; mostly seeming to suggest that God is where we find him. The Ekdahls draw their faith and their strength from their extended group of family, friends, and employees. Alexander may not have his own answer yet, but hopefully he's back in a place where he can find a good one.
So at this point I've only seen the extended TV cut and I don't see myself going back for the theatrical cut any time soon. Still, I'm curious to know what the differences are and how well the shorter version plays. Have any of you watched both? What are the differences and do they truly weaken the film?
OUR NEXT MOVIE OF THE WEEK for 12/28: TANGERINE
LAST WEEK OF THE HOLIDAYS
Our last Movie of the Week of Holiday month and indeed the entire year is this 2015 film that has been making many year-end best-of lists. It is available on Netflix Instant and Amazon Instant Video, though it is not free for Prime members.
NEXT PICTURE SHOW PODCAST for 12/22 and 12/24: Augirre, The Wrath of God/The Revenant
This week the Next Picture Show podcast discusses a pair of films about man's struggle against nature. We'll spare a day this week to discuss Werner Herzog's Augirre, The Wrath of God.