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John Cassavetes: Interviews
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American filmmaker John Cassavetes (1929-1989) made only nine independent films during a quarter...
Kirk Bage (1775 KP) rated Höstsonaten (Autumn Sonata) (1978) in Movies
Jan 28, 2021
I have been familiar with Bergman for a long time, having seen Summer With Monika, Wild Strawberries and The Seventh Seal at a young age. They were more or less my first experience of foreign language art cinema that I sort of understood and liked. Something about the practical and economical way conversations happen in Bergman appeals to me. They tend to lack melodrama and romance, but are intellectually satisfying and often dramatically devastating. None more so than this mindbendingly sad tale of a mother and daughter in conflict. Bergman’s regular muses Ingmar Bergman and Liv Ullmann go head to head in a masterclass of acting that left me in utter awe. It reminded me of the first time I saw Gena Rowlands in A Woman Under the Influence – such soul-wrenching honest of emotion, it is almost unbearable. In a good way.
The fact that something is bleak has never put me off, and Bergman too is completely unafraid of leaving you entirely depressed. In fact, I wish Hollywood wasn’t so afraid of it. Very few films with personal conflicts this strong spring to mind – perhaps Blue Valentine is as close as it gets. But on the scale of rhetorical blows to the emotional solar plexus, that would be a 4 and Autumn Sonata would be a 9. Truthfully, I have seen few things so brutal and painful played out in film form. Guilt, blame, regret, denial, shame and loss cut to the bone, making the key scenes at the crescendo very hard to watch, but also brilliant because of it. Visually it is warm and cosy enough, but quite static, like a stage play, but of course Bergman was aware of this. He wants us to focus on the people, and so we do. A blindingly strong work of art all round. Just not something you want to revisit too often.
The fact that something is bleak has never put me off, and Bergman too is completely unafraid of leaving you entirely depressed. In fact, I wish Hollywood wasn’t so afraid of it. Very few films with personal conflicts this strong spring to mind – perhaps Blue Valentine is as close as it gets. But on the scale of rhetorical blows to the emotional solar plexus, that would be a 4 and Autumn Sonata would be a 9. Truthfully, I have seen few things so brutal and painful played out in film form. Guilt, blame, regret, denial, shame and loss cut to the bone, making the key scenes at the crescendo very hard to watch, but also brilliant because of it. Visually it is warm and cosy enough, but quite static, like a stage play, but of course Bergman was aware of this. He wants us to focus on the people, and so we do. A blindingly strong work of art all round. Just not something you want to revisit too often.