Editor

It wasn’t shown first at Cannes or Venice this year, instead Saraband , Ingmar Bergman’s latest film made for television, premiered on SVT1 - Sveriges Television on December 1. Television is where the film will stay, as Bergman refuses to allow it to be shown in movie theaters in Sweden. The reason why Saraband was not part of the lineup at Venice allegedly was because Bergman was unhappy with the technical quality of the HDTV but he claims it was never meant for the movie theater.

Nearly 100,000 Swedish residents watched the dark drama on their television sets, an unusually high number of viewers. With the days getting shorter and shorter ( sun setting at 3.30 pm.) the Bergman broadcast was a welcome event for a Swedish winter evening. A few days later, a documentary on the making of Saraband was also broadcast including conversations with Bergman and his actors and technical crew.

Saraband is a continuation of the story of Johan (Erland Josephson) and Marianne (Liv Ullman) from Scenes from a Marriage 30 years later, the made for televions production by Bergman which increased the divorce rate in Sweden. The journey of the couple goes from infidelity to reunion to separation to divorce. After a whole generation, the two are separate but at peace with one another. Marianne goes to visit Johan in his home in Dalarna. However, the major conflict this time is between Johan’s grandaughter, the young and talented celloist Karin (Julia Dufvenius) and his son from another marriage Henrik (Börje Ahlstedt). Karin finds the relationship with her father oppressive and confides in Marianne.

One of the central music pieces is Anton Bruckner’s Ninth Symphony, his last symphony dedicated to God, which fits in well with the final swan song of Bergman. The filmmaker is content in settling a few scores with his past, and attempts to bridge the generation gap by creating the role of Karin who is a go-between with the senior members of the cast. The film marks the end of his career as a filmmaker, and as far as his extraordinary film work goes, is clearly a sober television dramatization. There are no innovative camera angles, editing or use of sound. Everything is filmed in a studio, even the out of doors. Bergman is the master at what he does best: the theater. Transitions from scenes include some of his famous startling dramatic explanation points.

The story will be released by Sony Pictures Classics in the fall of 2004.

Moira Sullivan


Nordic Correspondent