Winter Light (1963)

In his not-to-be-missed, detailed interviews to Scandinavian filmmakers/critics Jonas Simas, Torsten Manns and Stig Björkman published in France as "Le Cinéma Selon Bergman" (1973) -- inspired by the Hitchcock/Truffaut/Chabrol interviews, and with material selected from over 50 hours of conversations in the span of 5 years -- Bergman reassesses "Winter..." in affectionate but moderately critical terms. He quotes his wife (as of 1962) Käbi Laretei's comment about it: "Yes, Ingmar, it's a masterpiece, but a boring one!" (or "dreary one", according to another translation).

Not that it is really boring, at least not for IB's fans (as myself); and not that it's REALLY a masterpiece. It IS one of his driest, grimmest, most depressing films along with "Shame". As usual, there are magnificent scenes: every one Max Von Sydow is in (what an actor -- with barely a single line to speak he builds a very complex character); Åke Fridell's character, who's got the best lines; the argument between Gunnar Björnstrand and Ingrid Thulin at the cottage. Bergman's and Nykvist's visual conception is riveting: you can FEEL the cold of the bleak Swedish winter. However, there are other scenes that seem to drag longer than necessary (even for Bergman), especially the opening church service, and, yes, the letter scene (which is the source of the great letter scene in "Persona"). But I think the main difficulty with "Winter Light" is that Bergman paints his protagonist (Pastor Tomas Ericsson, played by Björnstrand) mercilessly, making it hard for us to make any connection with the selfish bastard, whether you're religious or not. The question of faith -- that should be the important issue here -- is compromised by the incredible level of egotism of Pastor Ericsson; it's hard to believe that man has ever experienced Christian compassion. Bergman despises him and makes us despise him too; I, for one, couldn't manage to feel the smallest degree of sympathy for the man.

In those interviews, Bergman talks about how difficult shooting "Winter Light" was, with Gunnar Björnstrand ill and detesting his role (no wonder!!) and the influence of Bergman's traumatic religious upbringing (his father was a strict Lutheran pastor), which made it hard for him to convey sympathy for Björnstrand's character. The idea for the film came when a bishop of a small-town church told Bergman of his failure in preventing a fisherman in anguish from committing suicide. Bergman also said that Thulin's character was partly based on his second wife, who had serious eczema in her face and hands.

Christian faith has been the subject of superior films by great filmmakers -- Dreyer, Rossellini, Bresson, Buñuel, Pialat, Melville, Pasolini, and, of course, Bergman himself. With "Winter Light", I found myself thinking a lot about Bresson's masterpiece "Diary of a Country Priest". Both "Winter..." and "Diary..." deal with lonely, depressed Christian clergymen who struggle to come to terms with faith-shattering issues within themselves and the ones around them. Both live in small, bleak, grim villages and cannot find solace in people around them, or give them sound advice. Both strive for an evidence of God — a signal, a word, an inspiration to help comfort people. Both face the peak of their religious crisis in winter time (no wonder!!) and when faced with suicide (the doctor in "Diar

Fmovies: …Everything is exactly as I wanted to have it, in every second of this picture." – Ingmar Bergman

"Winter Light", the second film in the writer/director Ingmar Bergman's trilogy of "faith" or "Silence of God" (it follows "SÃ¥som i en spegel" (1961) ... aka "Through a Glass Darkly" and precedes "Tystnaden" (1963) aka The Silence) is a masterpiece of minimalism with great performances and appropriate static, dark and gloomy "wintery" cinematography. This is a very personal and important for Bergman film for it deals with the loss of Faith - the master was very proud of this work. Bergman, aided by his regular cinematographer Sven Nykvist and performances by Gunnar Bjornstrand, Ingrid Thulin, Gunnel Lindblom and Max von Sydow had created a compelling, tragic, and thought-provoking film about a village priest (Gunnar Bjornstrand) who can't give much comfort and hope to those who need them as he feels none for himself. Ingrid Thulin plays Martha, a local school teacher, the woman who loves him and tries to reach him through the wall of desperation and depression that surrounds him.

"Winter Light" (Swedish, 1962): Just prepare yourself. Bergman is at his depressive best here. If you've ever lived in an environment that is perpetually cold, wet, and gray, you'll understand. If not, well, this film will illustrate it for you. A preacher, in serious depression himself, is losing his flock. His flock has rampant depression too. He tries to help, but it's useless. He starts looking for answers from them. No one has answers. Things happen. Nothing happens. It's the same old thing today, and tomorrow. This film requires patience. Expect no action. Even a scene change begins to seem like excitement – which is exactly what Bergman wanted for you. One scene, in which a major character "narrates" a letter she wrote to the preacher, is amazing. With a blank background, she stares into the lens of the camera, and talks "at" you – for pages. What a gutsy thing to do in a MOVING PICTURE. Avoid this film if you want more than thinking and feeling as results.

Winter Light fmovies. "I think I have made just one picture that I really like, and that is Winter Light…Everything is exactly as I wanted to have it, in every second of this picture." – Ingmar Bergman

"Winter Light" concentrates around the middle-aged priest named Thomas (extraordinarilly played by Gunnar Björnstrand) of a small Swedish church and his spiritual and emotional struggles during the one winter afternoon.

Tomas founds himself as a non-believer. He realized that he actually became a priest because he was weak, anxious and neurotic and not because of his faith. As a young man, not knowing the REAL world and its TRUE nature, Tomas became a priest. His wife was everything to him, yes. She encouraged his "believes". With her, his believes (or self-deceptions) were stable, steady. After her death, they were shaken (so were his whole life and its purposes) because he encountered the "real world".

After his wife's death he met Marta, schoolteacher – simple and realistic woman (played by brilliant Ingrid Thulin). Marta is in love with him. But he is bored with her and avoids her. Reasons for that are not very clear to the viewer or Tomas himself. He feels isolated and detached from the rest of the world. All the meanings and purposes of his life suddenly disappeared. Whole his life was one big – LIE.

So, why is he avoiding Marta? She is the real representation of the ''real world'' since being an atheist. Marta is the symbol of his failure, she ''reminds'' him that he dedicated whole his life to – nothing.

This is not, however, a religious film. It's a lot more exploring the real human nature and its possible ''faults''. It raises some universal issues like: ''Am I doing good things because I am a good person (because I have a good character) or because I am afraid of the consequences (because I am weak, fearful)''?

"Winter Light" is also masterfully crafted movie with formal elements absolutely supporting (and adding to) the issues of the script. It is a very cold movie with no music (intentionally). Sven Nykvist, Bergman's cinematographer did excellent job with his contrasted black and white photography, focuses and mise-en-scene conjuring up the emotional isolation and distances between the characters.

possibly my absolute favorite Bergman film. Gorgeous, the way a fresh blanket of snow on a frigidly cold winter night is.

Brutally bleak, "Winter Light" may be about losing religious faith, but I don't think you have to have a religious faith to identity with Gunnar Bjornstrand's character, the pastor of a small town. His "faith" is as much a will to live as anything else.

Bjornstrand and Ingrid Thulin are amazingly good, and Max von Sydow does more with a few subtle expressions, and very little dialog, than most any actor is capable of.

Not a film to watch in the dead of winter if you suffer from SAD, unless you're like me and get a perverse type of therapy from confronting the hopelessness head first.

This is a captivating film, one of Bergman's most inward-looking and cold pieces.

The performances are terrific. Gunnar Bjornstrand is at his excellent best, Max von Syndow is predictably good. I would single out the women performers for particular praise in this film: Ingrid Thulin is outstanding as the spinster who cannot break the ice that encloses Bjornstrand's pastor. Gunnel Lindblom plays a small but superb part as the desperate wife of the suicidal von Syndow.

This is not plot and action stuff, nor is it any good for you if seeing depression in others makes you depressed. It is a microscope study of desperation and depression. It is a small canvas film – my personal preference is for Bergman's larger canvas work such as The Seventh Seal and especially Wild Strawberries. Of his darker, psychological work, again I would express a preference for Persona and also Through a Glass Darkly. But I'm comparing greatness with greatness – if you like Bergman's work this one's a must see.