From the Life of the Marionettes Ebert Review
Underrated Bergman
Bergman fabricated this film in Germany, while in exile from Sweden for tax-related reasons. It'due south a dark and disturbing psychological portrait of a human, Peter, who murders a prostitute in the opening scene. The moving picture moves back and along in fourth dimension, using title cards to establish the setting in time, trying to explain Peter'south troubles. Information technology's reminiscent of Scenes from a Marriage, as Peter has problems relating to his wife, Katarina. A few weeks before the murder, he started having fantasies and dreams about murdering her. The prologue, depicting the murder (or, more precisely, the moments before the murder) and the epilogue (Peter in prison) are filmed in color, but everything else is in blackness and white. The composition is more often than not not showy, merely in that location is an amazingly filmed dream sequence, the film's centerpiece. The script is generally brilliant, very observant. The merely matter I felt was a niggling underdeveloped was the homosexual character, Tim, and Peter's supposed latent homosexuality, which the psychoanalyst grapheme describes well-nigh the terminate. I wasn't quite sure what to make of that material. ix/10.
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Really intriguing and undervalued
Perhaps I'm biased as I am a great gentleman of Ingmar Bergman, only I found myself both fascinated and impressed by From the Life of the Marionettes. Excepting All These Women, the simply film(of those I've seen, which is a little over two-thirds) that I didn't care for, Bergman's films have ranged to solid to outstanding. From the Life of the Marionettes is not one his very finest, but it is 1 of the films of his that is close to outstanding. Apart from the I agree underdeveloped homosexual subplot, there is very little of the movie to criticise. The production values could be seen every bit stark, merely withal sublime and fifty-fifty haunting and shot beautifully. Bergman directs superbly with his usual control and discipline, while the speeches are thoughtful and the structure consisting of drama, documentary, grapheme study, flashback and dream sequences is constantly attention-grabbing and I didn't notice myself confused by it. The characters could be seen as cold, but purposefully and there is the trademark compelling realism of Bergman'southward films here. There aren't Sweden'southward finest e'er actors on board, but the acting is nevertheless very good. All in all, very undervalued Bergman with lots of involvement value. ix/10 Bethany Cox
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Underrated and nether-known
A complex dissection of a murder and a murderer, told by jumping back and forth in time, before and after the upshot, A deeply disturbing portrait of a man and a gild so cut off from feeling that violence seems nigh inevitable.
While more than divided in public reaction then some of Bergman'southward near beloved works, I think this edgy, bold, uncomfortable film ranks shut to some of his best work. While there are moments of pretension, there'due south also a lot of human and psychological complexity (and wonderful acting) in this bleak exploration of how about murder and madness lie to whatever of us.
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Angst is the human condition
This is totally engaging but its almost simply theater: the long scenes, still camera, monologues, exposition of internal psycho-drama and capacity that construction the entire film.
But most of all its the interest and compassion contained in the human face and vox that Bergman makes central. That had been part of Bergman'southward work for a long time, just look at "Through a Glass Darkly". The characters are moving through space but not able to connect with each other at all, they simulate complimentary volition only they are not able to live it.
Having said all of the to a higher place the photography and set up ups are occasionally sublime, the sort of thing that was the essence of cinema, but not and so whatsoever more than.
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some other Bergman experiment, lots of interesting psychological bits
Ingmar Bergman's From the Life of the Marionettes, his last picture washed while in exile during the tardily 70's, hearkens dorsum to his experimental period in the mid to tardily 60'south. Here he'south trying for a deconstructive way to get inside the mind of his subjects, nigh notably the character of Peter Egermann. The fatal flaw of the moving-picture show, nonetheless, is also something that adds an unusual kind of connexion to the material for a Bergman picture. It's erratic in its narrative as the manager tests himself with jumping around from different times around a single event. But different how this has been washed past the likes of Tarantino, this is meant not actually as a useful story flim-flam, merely to try to get unlike perspectives and astute angles of the subject at hand. The moving picture doesn't achieve its greatness for the same reason that information technology does keep itself watchable- this is very murky, depressing times, loaded with dialog that may or may not go ways to help explain or give some interest in the supporting/main characters, and some startling, if dated, surreal experiences.
It'due south also a trivial foreign that Bergman decided to connect these characters, however loosely, to the couple in the start episode of the Scenes From a Wedlock serial, where Peter and Katarina (then played past Jan Maljsmo and Bibi Andersson) were the volatile arguers who juxtaposed the master focus of the film. Here, portrayed by Robert Atzorn and Christine Buchegger, are non only not as spot-on as the former actors (though they are yet quite skilful and excellent in some scenes), the couple is picked under Bergman's psychological microscope where the relationship is very strained and a fatalistic. The opening scene is definitely a heed-blower, with an intensity and harsh sexual edge that is uncommon to Bergman's films (one of his all-time openings to be sure). Indeed, one of the nice twists, a little shocking at first and and then intriguing, is how the filmmaker lets out inhibitions and shows the more explicit images of nudity and the sensual, every bit well equally stone and disco music.
Along with a fragmented approach to the storytelling, where infidelities, insecurities, shame, low, and outright rage and confusion are brought out in segments that range from the convincing to missing the mark. In a mode, perhaps Bergman's aims are lowered this time in exile, and he delves more than into a doomed personality with visual surprise. Sven Nyvkist, as usual, is nonetheless very good with what he does in the frame, especially as this is 90% black and white (with a foreign blueish tint at times), and his services come into great utilise in a visual detailing of a dream involving Peter and Katarina naked in a wide, white infinite. Information technology'due south perchance the best sequence in the film. In experimenting with the dramatic interpretations, it's not equally successful, and some of the supporting actors aren't as good equally the leads (a scene with 1 of the actors talking into a mirror is 1 of my least favorite scenes Bergman's ever wrote/directed).
Its obscurity is not, therefore, that staggering to run into. Simply it is a skillful and occasionally spine-tingling character written report, and if you are into the filmmaker'due south work already it'south a find that might prove better or more fulfilling. 7.five/10
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Peter's got this problem
Bergman's working with a very restricted palette here, equally he did with The Rite or Winter Light. The romantic, funny touches you wait from him are missing. Peter's mind is aging; he's a modern Othello obsessed with his married woman'due south allegiance amid the tasteful furniture of their elegant dwelling house. All the activity is seen through the distorting lens of Peter's madness. Why would his wife say, in front of strangers, that she has to get drunk to steady her nerves at her mother-in-law's identify? This is the disturbed heed at work.
The interim is fine. Robert Atzorn and Walter Schmidinger do very well as, essentially, 2 sides of the same coin (the stodgy businessman and the gay manner designer). Christina Buchegger is wonderful every bit Katharina, the wife; her attempts to win out over Peter's psychosis requite the pic what drama information technology has.
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Aus dem Leben der Marionetten: A Cornucopia of Pleasing Visuals
Despite having seen the best office of Höstsonaten, Bergman's film immediately prior to Aus dem Leben der Marionetten, I never completed the viewing experience. Thus, this ranks itself as my very showtime Bergman, something I'd been rather looking forrad to for quite some time.
Showtime with a surprising scene in which a well dressed man strangles a prostitute, Aus dem Leben der Marionetten follows this upshot up by examining the events before and afterwards it, hopping through a time frame of 2 to 3 months. Through the conversations which precede and follow this catastrophe—as the movie'south intertitles elect to label information technology—we learn gradually more than well-nigh the reasons and the people behind information technology.
I have a very deep proclivity toward non-English films playing late at nighttime on television receiver, especially those in German language—simply considering I'one thousand a educatee thereof. In the fleeting moments between realising such a film directed past the acclaimed Bergman—of whom I regrettably knew rather fiddling—was about to grace my screen and its beginning, I was somewhat disenchanted to learn that this is non considered amongst his greatest. Still, I happily sat back to picket the potential magic unfold. The opening scene of murder is a strange 1, the severity of the violence neither understood past its recipient or indeed by us; verily, it is suggested that not even the assailant understands what he is doing. Thereafter, an intriguing thing happens: the colour drains from the film, turning the previous rich reds to a dull monochrome. This result is fascinating, inviting us to ruminate upon its purpose more than than beginning in black and white would accept washed. The motion-picture show follows this upwardly with a non-chronological narrative progression, ducking from past to future—considering the murder the present, of form. Most of these scenes take the form of intimate conversations or extended monological musings, discussing in a vague style many aspects of life. These are beautifully shot, a scene in which a homosexual man addressing the killer's wife slowly comes to regard himself in the mirror completely entrancing and surprisingly tender. Noteworthy as well are the dream sequences—most rife in the film's middle section—dazzlingly bright and beautifully narrated. These exhibit a visual flair as inherently important to an understanding of the film as any dialogue. The flick is both visually and thematically interesting, examining through both the factors that bulldoze ordinary people to cruel actions. Somewhat of a recondite piece, it is the kind of film that lingers with you, returning to your mind a number of times after viewing. The performances, peculiarly that of Martin Benrath—in the office of the same gentleman—are nix short of absorbing.
Containing a cornucopia of pleasing visuals and highly effective metaphors—the importance of mirrors springs to mind—Aus dem Leben der Marionetten is a voluptuous treatise on life and beloved; repression and expression; individuality and relationships. Slow moving, but completely involving, if this is a lesser Bergman, I can't wait to come across how he could improve upon information technology.
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Fantabulous screenwriter-filmaker... MR. BERGMAN
The best thing nigh this pic, is non only it's photography, nor information technology's characters. Information technology's the all-time story telling e'er, using the flash forward - flash back resources it keeps your listen trying to put together this extraordinary puzzle. Bergman did this earlier Tarantino'due south Pulp Fiction. And keeps it in an intimate level, wanders in the nighttime pits of human sexuality and feelings. So... watch the film with open mind.
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People Without Issues Brand Them Up
Given my lack of pleasance in Henry James and the Merchant-Ivory corpus (I'm tempted to write "corpse"), I found this beautifully acted and shot dissection of people with too much fourth dimension on their hands a stately bore. They should take up gardening or knitting or hitting their anxiety with sledge hammers. There's nothing like existent hurting to cure ennui or disgust at being as well theoretical. I recollect we're problem-solving animals and if nosotros don't accept a trouble to solve, then we look for issues so nosotros tin can solve them. Telling us "don't worry be happy" doesn't seem to work for more than a few minutes, and Bergman wants us to know how miserable nosotros are. Especially when watching his movies. Very well, I know it.
Now what?
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Lots to retrieve almost and compulsive watching
Bergman was on superlative form writing this piece - there'due south lots to think about. What motivates a respectable man, whose mental land indicates only a small risk of self-harm, to undertake such a trigger-happy and frenzied law-breaking? Practise the ulterior motives and actions of those around him (wife, shrink, wife'south business partner...)deliberately or unwittingly trigger the crime - or indeed are those sub-plots entirely incidental to the cardinal event? These questions are not answered - they are raised and illuminated.
This is non Bergman's greatest piece of cinema - the mixture of documentary, drama and flashback can be a fiddling disorienting - only the argument of the film drives on relentlessly and it is compulsive watching. Well worth seeing.
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Static, talky, clinical, baroque, explicit, challenging - and very well acted
Alert: Spoilers
Thematically "From The Lives Of The Marionettes" is not far away from American horror films of the flow, but stylistically it is quite different. I liked the dorsum-and-forth-in-time narrative construction, but for all the insights we get into the psyche of the central character, when the movie is over we still don't really know why he did what he did. The best part is the fetishistic dream sequence; the worst are the two sequent endless rants of the character named Tim. **1/ii out of 4.
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A Dark and Disturbing Psychological Movie
The story begins in colors with the trigger-happy murder of a prostitute followed past necrophilism by Peter Egermann (Robert Atzorn). Through the investigation, in black & white, the investigator interviews Peter's wife, the beautiful designer Katarina Egermann (Christine Buchegger), his doc, his mother and some friends, and realizes that Peter is an unsecured man, who has never controlled his own life. His doctor'southward study indicates that Peter had a breakdown. In the colored epilog, Peter is in his prison cell, in a mental establishment, observed past his wife and his nurse. This night and disturbing psychological moving picture is very depressive. I am a fan of Ingmar Bergman, the interpretations and direction are splendid, as usual, but I did not similar this complex story. My vote is 7.
Championship (Brazil): `Da Vida das Marionetes ` (`From the Life of the Marionettes')
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Surprisingly good, considering the criticism it received on release
A short comment - enjoyed this and it is upward to the usual Bergmann standards. Every bit with many of his other films sticking with some of the difficult opening scenes rewards the viewer afterwards with a thought provoking account of one man's depression leading to violence and murder. In many ways Bergman is the jacques costeau of the flick globe, exploring the deep seas and bringing upwards to the surface what lies beneath!
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Amongst Bergman's better - and well-nigh underrated - movies
Many of Ingmar Bergman's movies bear on navel gazing - oft featuring characters "breaking the fourth wall". We're expected to look at the character's confront and glean the depth of their despair through this device. Sadly, equally in 'Summertime With Monica', 'Persona', 'Wild Strawberries' et al, this leads to some turgid movies.
Yet a batch of Bergman's movies are... well... movies. 'Virgin Leap' is one. Its focus is on telling a story, while subtly developing the characters. And, of course, at that place'south 'The Seventh Seal" also. Another story led one, and great on the excesses of organized religion, death, hope.
'From The Life of Marionettes' is somewhere between the two styles of Bergman, but plenty of the focus is on the story that I'd put this up with some of his movies that really did it for me. 'Marionettes' begins with the murder and rape of a woman... throwing you direct in at the deep-end. The scene is in Technicolor to heighten the bear upon. Much of the rest of the motion picture then switches to blackness and white flashbacks and flashforwards that cover the reasons behind - and the backwash of - the murder.
The movie does come across equally cold and clinical. It's so precise in its form, with lingering shots and a tendency toward tableau center and long shots, that it is a hard movie to get excited by. But, that's probably just the point of it. Even though you feel similar you're gently led by the mitt through the picture show, the story and characters are strong enough that you allow yourself be. Well, mostly. I felt a little irritated by 10 or xx minutes in the middle section, and I felt a couple of the scenes repeated themselves to beat usa with a certain viewpoint.
Simply it works. 'From The Life of Marionettes' succeeds in achieving a difficult thing - seeing into the heed of an insane homo. And while information technology'south non a fun lookout, it's a very interesting 1.
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Misdiagnosis
The story begins with the murder of a prostitute past a homo who can discover no happiness. He sees a psychiatrist who is more interested in bedding his wife than helping him. The man is hopelessly unhappy. The movie tries to understand his emotions and motivations only it is all bottled up within him. His relationship to his wife is pure torment. The spar with one some other. She gets pleasance out embarrassing him and so tries to make up. He is attached to his mother in a very Freudian fashion. Nosotros are put through a serial of flashbacks and flash-forwards (is there such a affair) all scripted around the murder. Information technology'due south hard to experience whatsoever compassion for the figures in this drama. Bergman could be and then contemptuous almost the human status and this film, piddling known, carries on that management. I guess, Marionettes have no personal will merely are pulled past the strings of their indifferent masters. This moving-picture show is non for the faint of center.
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Not enough skilful moments for 100 minutes
Warning: Spoilers
"Aus dem Leben der Marionetten" ("From the Life of Marionettes) is a German 100-minute movie from over 35 years ago and I believe this is the but film that renowned Swedish writer and manager Ingmar Bergman fabricated in German. Lead player is Robert Atzorn and I know him. Still, I am not familiar with tardily lead actress Christine Buchegger. I see this film hither is a spin-off from another work by Bergman. That one was in Swedish though. Nosotros spotter a couple in their dysfunctional matrimony and notice out why the husband committed a terrible crime. This basically happens entirely via flashbacks to the days and hours earlier the offense. I estimate Bergman wanted to shock the audition right away and to proceed them interested, he included the scene right at the beginning. He probably knew that a chronological guild would diameter well-nigh of the audience as the story that leads to the offense is simply non interesting plenty unfortunately.
If this is standard Bergman, then I take to say I am non really interested. He had many skillful actors at his disposal, yet didn't manage to construct a well-idea-out picture around them, even if the acting was fine for the nearly role. In terms of a similar plot, I definitely adopt Rainer Werner Fassbinder's amok-related picture. A much more rewarding picket because he, dissimilar Bergman, does not lose himself in pretentious dialogue and style over substance for a big role of the flick. Honestly, I quickly lost interest in the means the couple constantly humiliates each other and also in the question why he actually did what he did. Well.. I could even say it every bit it happens right away in the film, so information technology wouldn't fifty-fifty be a spoiler, would it? Oh well, judge I won't Cheque for yourself. Or don't because you would not be missing much. I cannot recommend "Aus dem Leben der Marionetten". Thumbs down.
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psychiatry in activity
Ingmar Bergman's common cold, clinical case written report explores the psycho-sexual inhibitions of a Swedish homo unable to trust his wife merely unwilling to leave her, leading him finally to murder and then rape a young prostitute. The verbally explicit drama is challenging and controversial but also impersonal and uninvolving, in large office because of Bergman's deliberately detached viewpoint and the unfortunate addition (on the old VHS print I saw, at to the lowest degree) of substandard English language overdubbing. The unsaid criticism of Freudian analysis is worth noting (if just because it's more than interesting than the facts in the case itself), just the film hardly qualifies equally amusement, except possibly for highbrow viewers needing stiff food for thought.
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A rare misfire made during Bergman'due south exile menstruum
I was confused pretty much through this whole moving picture. Non because I couldn't figure out what was going on in front of me, just because I couldn't figure out how all of these disparate pieces were supposed to come together.
Made during Bergman'due south self-imposed exile to Germany due to taxation problems in his native Sweden, From the Life of the Marionettes is a jumble of a movie that keeps swirling effectually a point without ever quite getting to 1. I think the central problem is that the human impulse, that of a demand to commit violence, doesn't seem to be something that Bergman has whatever real experience with. Maybe I'grand wrong, and he was a vehement to 1 (or several) of his wives, simply based purely on this, I'd say no.
The story begins with the murder of a prostitute by a man. What follows is a series of chapters (like how Bergman assembled Scenes from a Matrimony and Saraband) but in non-linear order, which, I don't think, ends upwards working particularly well. We notice out about the human being, a placid middle-aged and middle-form human being with a wife and no children who harbors fantasies of murdering his spouse. His reasons seem to have something to do with sexual practice with references to unexplainable urges of murder and a clarification of a dream where his wife humiliates him for lack of sexual ability. Perchance this could provide his motivation, but information technology's a surprisingly small part of the moving picture. There'due south a middle section where the married woman's partner, a gay human being, talks nearly his ain troubles with allure and aging.
The movie is an odd combination of smart and bad at the same time. Simply summarizing what happens in the film papers over my resistance to the moving picture, because information technology "reads" amend than it actually plays. There'south intelligence to how dissimilar elements come up into the film, fall out, and then render, but the overall package is shockingly unwieldy and opaque. At the same time, there are wonderfully striking images throughout, in particular around the dream sequence (Bergman lost none of his ability with lensing and his long time collaborator, DP Sven Nykvist came with him to Germany to go along working with the director).
I guess the problem is that I just constitute the gild of information revealed to be frustrating at best and the actual penetration into the murderer's actions and mindset to exist unconvincing.
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A mish-brew of Bergman's previous works.
My Rating : six/x
Well - I will admit that Bergman is ane of the greatest filmmakers and auteurs of all time simply he has made some terrible movies in his 60+ filmography when he tries to practice something a picayune as well arts-y and highbrow-ish. This is certainly one of them.
The jumbled chronology and overly pretentious dialogues makes for a stupid moving picture for the pretentious arthouse suburbia. I liked the Freudian influences but other than that it is a re-working of his previous iconic works, Persona etc
Lookout at your ain risk. It is rather wearisome-paced.
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As well far from my experience for me to be engaging
There's non a lot to say virtually this moving picture. It was made in Germany and is in German every bit Bergman had tax troubles in Sweden at that time.
The flick features Katarina and Peter, the same couple who visited Marianne and Johan in the first episode of Bergman'due south "Scenes from a marriage" though the actors are different.
Peter and Katarina have a bad marriage and Peter dreams of murdering Katarina. The moving picture opens with Peter murdering a prostitute and commiting necrophilia with her body. And so follow a serial of flashbacks showtime two weeks before the murder, as well as scenes with people in Peter's life after the murder, including his psychiatrist, mother, Katarina's homosexual concern partner, etc. At the cease Peter ends up in a mental hospital.
I fell comatose part way through this word-dense flick and wasn't inclined to go dorsum to what I'd missed. The whole thing was too far from my experience for me to be engaged, while it was too grim to exist escapist.
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Monologue-Laden Misfire
If the entire picture show were as tense, engaging, and interesting as the (approximately) starting time and terminal sixths, then this likely would have been an excellent movie. Instead, this psychological character study of why an upper-class businessman decides to murder a prostitute falls from its attention-grabbing opening to a lengthy middle act that often feels like a task to watch, all earlier picking support at the end.
From the Life of the Marionettes gain with a serial of non-linear vignettes, each purporting to explore why Peter decided to kill a adult female. Many of the episodes focus on the relationship betwixt Peter and Katarina, which is strained and dysfunctional, with each of them alternate between amore and inflicting hurting on the other. Some scenes focus specifically on Peter, including his apparent feelings of entrapment and lack of control in his work and human relationship.
The moving picture has notable and insightful portions, but big hunks of it get bogged down past pretentious, high-brow dialogue delivered via tedious monologues more likely to brand yous check your lookout than accept a philosophical insight. It too is odd that Bergman chose to reprise these characters from their before advent in Scenes from a Marriage. That was an unnecessary pick that adds plot baggage to the characters. (Personally, it's hard to believe the couple from Scenes from a Union is the exact same one equally this couple.)
The interim is fantabulous. The cinematography is interesting, though there are a number of highly experimental scenes throughout, with mixed results. The soundtrack of what seems to exist High german guild music was grating.
Overall, it was an interesting concept that did not pan out. The low points but outweigh the good elements.
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Cruel, Intriguing, And Sex-Fuelled
Pros: 1. The movie begins with an centre-catching opening which is simultaneously tense, suspenseful, and unflinchingly brutal. It also serves as an intriguing view into the primary graphic symbol. two. The flashbacks are presented with a black-and-white colour palette, which is only a prissy and uncomplicated mode of delineating them from the present. 3. Both Robert Atzorn (Peter Egermann) and Christine Buchegger (Katarina Egermann) deliver fantastic performances. four. The movie serves as a fascinating insight into the mind of a psychopath who besides happens to exist suffering from union and sex issues. five. The cinematography, especially in regards to the framing of the shots, is sharp and concise.
Cons: 1. The audio pattern is a little off at times. 2. The continuous sex, and sex-related content, starts to get a little repetitive. three. The movie, at times, feels besides pretentious which pulls the viewer out of the immersion.
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Making Murder Boring
Warning: Spoilers
The pic opens with the murder of a prostitute by Peter, a human being in a suit. What follows are scenes of Peter and his family unit and acquaintances that accept identify effectually the time of the "catastrophe" (as it's called in the titles), and of the Police interrogation.
The second scene shows Peter'south shifty-looking psychiatrist explaining that Peter was wealthy, intelligent, normal, happily married, and gave no hint of the impending murder. Nosotros soon learn that the psychiatrist is unethical and also lying. The residuum of the film shows merely how much he lied. Perhaps Bergman is trying to become us to call back that Peter had no choice in his actions, given the circumstances of his life; that he was, in effect, a marionette.
The film takes place in Germany, with High german-speaking actors. Although filmed by Sven Nykvist, Bergman'due south rightly-famous cinematographer, in his usual, wonderfully-lighted close-ups, I didn't feel the intimacy that we usually go with Bergman's Swedish films. Perhaps the German actors' faces lack the expressiveness of the Swedes, or maybe Bergman only wanted them to seem colder and more aloof.
The characters spend long minutes in monologues in single takes. It gets boring. Instead of caring most what they have to say, I found myself marveling at the actors' powers of memorization.
The motion-picture show is livened upwardly by many long nude sequences, more than you lot ordinarily see in a non-pornographic pic, just these are non enough to make upward for its long slow bits.
"From the Life of the Marionettes" had seven (!) producers, among them Bergman himself and also Ingrid Bergman.
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