Rational, exacting, and self-controlled theater director, Henrik Vogler, often stays after rehearsal to think and plan. On this day, Anna comes back, ostensibly looking for a bracelet. She is the lead in his new production of Strindberg's A Dream Play. She talks of her hatred for her mother, now dead, an alcoholic actress, who was Vogler's star and lover.
Après la répétition, After The Rehersal, 排练之后, Tras el ensayo, Depois do ensaio, Dopo la prova, Nach der Probe, След репетицията, После репетиции, Harjoitusten jälkeen, 排演之后, 리허설이 지난 후, Depois do Ensaio, Po próbie, After the rehersal, Po zkoušce, Después del ensayo
France
Cannes Film Festival
USA
Germany12
Portugal
FinlandK-7
Sweden
Finland
France
Germany
Portugal
Sweden
USA
Action! - of God and Man: Bergman and the Hopelessness Kind
Bergman (kinda) returns to the world of A Dream Play. The film is a dialogue-heavy film in which the performances and the writing are the real stars, though you also get some incredible minimalist cinematography and staging. The entire cast is fantastic across the board, with Josephson nailing the role as this rational, stern, and self-controlled theater director as he embraces a fight of egos with different women about her past that ends up confronting them, almost like spirits of the Christmas past. Thulin’s whole mental breakdown monologue is ferocious and devastating. Olin’s evolution from this almost shy girl minding her own business to the final standout when she…
This was not a film Bergman himself was satisfied with, at least not just after the shoot had wrapped - he's quite scathing about it in his diary from the time. Some years later though, he wrote: "Seeing After the Rehearsal now, I find it much better than I had remembered. When you have struggled with a bad shoot, the dispiritedness lingers." It worked pretty well for me, though not as the black comedy it was originally conceived as, more as a meditation on age and experience and a meta exposition of stagecraft.
A one-location shoot, After the Rehearsal was a made-for-TV movie, set back stage at a theatre production of Strindberg's 'A Dream Play'. Veteran director, Henrik Vogler, lost…
A perfectly fine Bergman, but the first of his films that I will probably never watch again. If not for Sven Nykvist and the lead performances, I would've liked this a lot less. 10 films in, and I am still yet to dislike one.
Bergman intending to make a black comedy and ending up with a talky, existentialist meditation on aging and relationships is literally the most Bergman thing ever.
This film was originally made for Swedish television. However, just Ike several other made for tv productions Bergman directed, it is hardly a second rate production. It is minimalistic, tightly constructed and only has a cast of three actors. They are Henrik Vogler (Erland Josephson), an older director now directing his fifth production of ''The Dream Play''; Anna Egerman (Lena Olin), Henrik's young, beautiful, ambitious leading lady, and Rakel (Inrid Thulin) an washed-out, once-great actress, who is an alcoholic and who has accepted a humiliating two-line role from Henrik, a former lover. The movie, which is surreal in parts and is widely open to interpretation, explores the fluidity between acting on stage and in real life. It hits pretty close…
Uma boa tarde, um bom domingo para os aprendizes cinéfilos e os estagiários da crítica que passaram os últimos 5, 10, 15 anos (gerações diferentes, cacoetes de "cultura cinematográfica" idênticos) se fiando em um ou dois textos dos anos 1970 em que Daney fazia críticas ásperas ao Bergman para legitimar suas opiniões incrivelmente banais, curtas, reducionistas, caipiras ("ai, não me faz bem ver a dor de personagens progredindo num universo moral-existencial-político nebuloso, oblíquo e não edificante", a objeção mais prototipicamente aburguesada e intelectual-existencialmente charlatona e juvenil de que se tem notícia) do grande cinema do grande Bergman:
This beautiful film goes beyond optimism and pessimism. It is both cheerful and sad, calm and light, and very simple. Few filmmakers in…
☆"Listen to the silence on this stage. Imagine all the spiritual energy, all the emotions, real and make-believe, all the laughter, rage, passion, and who knows what else. It’s all still here, enclosed, living its secret, uninterrupted life."☆
My Journey into the Films of Ingmar Bergman -- Part 55 of 62
The penultimate Ingmar Bergman film was never supposed to happen, nor was it supposed to be his penultimate when it did. Bergman retired from moviemaking after Fanny & Alexander, committed to taking his career into the sunset by going back to his roots in the theatre with stage productions. Yet Swedish television gave him an opportunity to merge that medium with the stage, and he couldn't resist giving it another…
You could say this film was about an aging stage director, his young female star, and the spare, psychological rehearsals they have in preparation for his upcoming production of Strindberg's A Dream Play…and you wouldn't be wrong. This would also be the least interesting path of interpretation. What this film is narratively about is nowhere near as fascinating as its liminal structure. To me it played out like a study on histrionics, where detecting the truth of a performance is as slippery as the vérité tradition itself.
To get meta: this is a film that involves actors playing characters playing actors who (self-consciously?) shift between these roles in attempts to bring hidden truths to the surface. They schtick off each…
... What worried me the most at that moment, was that I couldn't hear the church bells!
An intense chamber work, made for television following Bergman’s “retirement” from filmmaking. It ruminates on relationships, power and time, through the proscenium arch of theatre. It’s shot beautifully by Sven Nykvist on a near bare stage with a small cast, and utilises the manipulative natures of actors and their director to reveal how performances both hide and reveal psychological truths. Autobiographical references add to the sense that this self-reflexive study of performance is actually something of a confessional.
A very short feature from Bergman, but I wanted it to be longer cuz I was enjoying what I was watching. I mostly know Erland Josephson from his collaborations with Bergman, but I’ve liked him in pretty much everything I’ve seen him in! This was right up my alley, I liked it.
This review may contain spoilers. I can handle the truth.
“Why justify myself to this young person who doesn’t seem to care?”
Efter Repetitionen/After the Rehearsal: Unfinished viewing.
Beautiful transitions in shot size… with verbal sparring between Erland Josephsson and Ingrid Thulin in her final performance with the master. He’s a playwright, she’s an actress. It instantly reminded me of one of those classic one act plays. Except it just doesn’t have any dramatic weight for me even with the incorporation of the family history that binds the characters together, and they drone on and on with way too much dialogue for me to remember anything tangible as is the case with me. Honestly my focus broke after the first few minutes of Thulin and Josephson interacting. Just no break…
