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Autumn Sonata (The Criterion Collection)
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Additional DVD options | Edition | Discs | Price | New from | Used from |
DVD
September 17, 2013 "Please retry" | The Criterion Collection | 2 | $9.95 | $8.36 |
Genre | Foreign |
Format | Special Edition, Letterboxed, Widescreen, Subtitled, NTSC, Multiple Formats, Color |
Contributor | Ingrid Bergman, Gunnar Bjrnstrand, Linn Ullmann, Mimi Pollak, Marianne Aminoff, Lena Nyman, Liv Ullmann, Arne Bang-Hansen, Eva von Hanno, Erland Josephson, Halvar Bjrk, Ingmar Bergman, Georg Lkkeberg See more |
Language | English |
Runtime | 1 hour and 39 minutes |
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Product Description
A stunning union of two of Sweden's national treasures, Autumn Sonata pairs Ingmar Bergman with Ingrid Bergman for their only joint effort. Ingrid plays a mother who, after forsaking her family for a music career, attempts a reconciliation with her oldest daughter (Liv Ullmann) through a night of painful revelation. Sven Nykvist contributes glorious Eastmancolor cinematography to this quietly beautiful story of forgiveness. Criterion is proud to present Autumn Sonata in a gorgeous digital transfer.
Product details
- Aspect Ratio : 1.66:1
- Is Discontinued By Manufacturer : No
- MPAA rating : Unrated (Not Rated)
- Product Dimensions : 7.5 x 5.38 x 0.6 inches; 3.2 Ounces
- Director : Ingmar Bergman
- Media Format : Special Edition, Letterboxed, Widescreen, Subtitled, NTSC, Multiple Formats, Color
- Run time : 1 hour and 39 minutes
- Release date : January 18, 2000
- Actors : Ingrid Bergman, Liv Ullmann, Lena Nyman, Halvar Bjrk, Marianne Aminoff
- Subtitles: : English
- Language : Swedish (Dolby Digital 2.0 Mono), English (Dolby Digital 2.0 Mono)
- Studio : Criterion
- ASIN : 0780021118
- Writers : Ingmar Bergman
- Number of discs : 1
- Best Sellers Rank: #25,579 in Movies & TV (See Top 100 in Movies & TV)
- #122 in Foreign Films (Movies & TV)
- #4,441 in Drama DVDs
- Customer Reviews:
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I don't agree that Autumn Sonata is a mediocre film. I think Bergman did understand women well, and portrayed this mother/daughter relationship nicely. He was able to show in his dialectically opposite approach, the vulnerabilities of the narcisstic artist and the self depreciating/ martyr. They exposed themselves, faced off and retreated to their comfortable life positions by the end of the movie. The use of the unnamed ailment of the younger daughter represents the other side of mother who often cries as a baby of her back pain, but at least is left whole enough to express herself also in her music. The death of the son at age four I think represents the symbolic death of the innocence in all of the "chamber music" of characters in this film (mother, daughters and husband) which Bergman uses in many of his movies. The sparing use of scenery and number of protagonists adds to the reality of the despair here. Anyway, I could go on too long....enough said. I think this movie is worth a watch and a long ponder.
I had a few small problems re-seeing it 32 years later.
But, in the end, it is a remarkable film, featuring two amazing performances from Liv Ullman and
Ingrid Bergman as a mother and daughter desperately hashing out old wounds during a visit paid
by the mother, a famous pianist and cold perfectionist. Meanwhile her daughter has clung to old
hurts to the point of self-paralysis.
A moving testament to the need for forgiveness and growth.
But some of the peripheral story elements feel a bit tacked on, and to perhaps stack the deck too
easily to one side, particularly a sickly younger sister that Bergman's character can barely deal with.
It's a minor flaw, since the power of the key confrontations carries the film to the heights (and depths).
But I couldn't help wishing Bergman had trusted us a bit more to work out our own feelings about
two complex characters, as he did with the even more brilliant `Scenes From a Marriage'.
Very Pleased with the package and timely delivery
The transfer is also amazing. Great restoration job. I noticed no scratches, or any visible damage to the print. The audio was clear & the subtitles easy to read. Special features include an interesting & insightful introduction by Ingmar Bergman, a new interview with Liv Ullman, which I also enjoyed, & a three hour making of documentary. This is a must for anyone who likes the three main names involved.
Top reviews from other countries
I had a few small problems re-seeing it 32 years later.
But, in the end, it is a remarkable film, featuring two amazing performances from Liv Ullman and
Ingrid Bergman as a mother and daughter desperately hashing out old wounds during a visit paid
by the mother, a famous pianist and cold perfectionist. Meanwhile her daughter has clung to old
hurts to the point of self-paralysis.
A moving testament to the need for forgiveness and growth.
But some of the peripheral story elements feel a bit tacked on, and to perhaps stack the deck too
easily to one side, particularly a sickly younger sister that Bergman's character can barely deal with.
It's a minor flaw, since the power of the key confrontations carries the film to the heights (and depths).
But I couldn't help wishing Bergman had trusted us a bit more to work out our own feelings about
two complex characters, as he did with the even more brilliant `Scenes From a Marriage'.
Well into her seventh decade, Ingrid Bergman's beauty as an aging concert pianist, Charlotte, is striking, especially in contrast with her daughter played by Liv Ullman. Ullman's astonishingly attractive looks (which dominate such classics as "Persona" "The Passion of Anna" "Cries and Whispers" and "Scenes from a Marriage") are convincingly masked by the dowdy attire, owlish glasses and prissy manner which give great credibility to her depiction of a priest's wife, unloved by and resentful of her mother.
Unique among Ingmar Bergman's films, the principal relationship under examination is that of mother and daughter. The closest film in this respect is "Cries and Whispers" but there the presence and unflattering characterisation of the mother is principally designed to informs the tortured relationship between the sisters Agnes, Maria and Karin as we see the similarities between Maria and her mother. Although "Autumn Sonata" touches on many of Bergman's favourite themes, the mother and daughter angle gives a freshness to the film and makes the quality of the acting all the more treasurable.
"Autumn Sonata" tends to be forgotten in comparison with Bergman's other late period works, both those made in exile from Sweden and those made before such as "Cries and Whispers" and the trimphant home-coming "Fanny and Alexander" both of which richly deserved Oscars.
Although "Autumn Sonata" is not as technically adventurous or as stunning visually as others, Ingrid Bergman deserved more than the Oscar nomination she received and the awards bestowed upon the film as a whole were richly deserved. Furthermore, the use of the Chopin prelude, in revealing Charlotte's personality is perhaps the most successful use of music in Bergman's directing history.
The extras are spare as one has come to expect from Tartan. Best is the original trailer which manages to capture the film's essence without being sensationalist or sentimental.