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Culture / Cinema

A day without Bergman: "Fanny and Alexander. Chronicle the making of the film" (1984)

Filmz.ru: The article 03.11.2018 at 07:01

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There was a time when the now common genre of "movie about movie" seemed like a gimmick: not everyone came to me to capture for eternity "routine" filming process (well, who can it be I wonder?..). Fortunately, leaving the cinema, Ingmar Bergman had the sense to leave the self-signed certificate on the completed work.

"Fanny and Alexander. Chronicle the making of the film" (Dokument Fanny och Alexander), Sweden, 1984; dir. Ingmar Bergman, documentary; the film involved Ingmar Bergman, Sven Nyquist, Bertil Guve, Gunnar Bernstrand, Pernilla Alwin, Eva Freling, Alan Edwall, Stina Ekblad, Erland, Josephson.

the Director Ingmar Bergman is working on his most ambitious film - a cinematographic novel "Fanny and Alexander".

the Frame from the documentary Ingmar Bergman's "Fanny and Alexander. Chronicle the making of the film"

there are No fundamental secrets this documentary film seems to be not open. Those who in principle familiar with the way the movie is done, you will not find here anything new: here is the camera, that the Director communicates with the actors; everything seems to be exactly the same as always and everywhere.

the Frame from the documentary Ingmar Bergman's "Fanny and Alexander. Chronicle the making of the film"

the Frame from the documentary Ingmar Bergman's "Fanny and Alexander. Chronicle the making of the film"

Another thing is that here we know that before us - Sam Bergman, behind the camera is Sven Nyquist ("Sven uses the minimum of light sources, but with maximum precision"), and the role, such as jester takes Gunnar Bjornstrand - actor, who starred in Bergman most often: a total of nineteen (!) times (most often the role of it is small, but in such films as "Lesson of love" and "smiles of a summer night", "Through a glass darkly" and "Face", and, of course, "the Seventh seal" and "Sacrament" is Central).

the Frame from the documentary Ingmar Bergman's "Fanny and Alexander. Chronicle the making of the film"

In the process, Bergman is sitting behind the camera, checking the exposed frame, it remains along with the actors (sometimes even close to them). And admits: "I'm in the details to recreate a few moments from my childhood, the former sixty years ago. It's a strange feeling," - finding members of his proven team of very loyal helpers.

the Frame from the documentary Ingmar Bergman's "Fanny and Alexander. Chronicle the making of the film"

the Frame from the documentary Ingmar Bergman's "Fanny and Alexander. Chronicle the making of the film"

Shooting a five-hour narrative about the lives of the Ekdahl family continued for several months, but the story about them is not as detailed as one would expect. In the documentary the picture included only a few selected fragments of the meeting of the group before the start of the first day of shooting (which is "always disgusting, so we decided to start with something nice" - from the pillow fight!), rehearsal for the very first frame, Christmas eve, the final night shift...

the Frame from the documentary Ingmar Bergman's "Fanny and Alexander. Chronicle the making of the film"

And there are not so many interesting facts, for which it would be possible to catch – like those when we learn that the scene, for example, a magnificent funeral with five hundred extras were removed without ill directed (the process was streamlined so that experienced filmmakers and without him have done), and stuntman, depicting a burning sensation, despite all taken precautions still received severe burns.

the Frame from the documentary Ingmar Bergman's "Fanny and Alexander. Chronicle the making of the film"

the Frame from the documentary Ingmar Bergman's "Fanny and Alexander. Chronicle the making of the film"

Abandoning bustle, Bergman focuses on to show how carefully studied one or the other stage, down to the smallest gesture of the actor or invisible to the camera (here, by the way, it appears that Bergman and nykvist were different views on how to achieve this). And revealing of all in this respect, a nine-minute episode, in which the Director examines with the artists I learned by studying the movements of each appearing in the frame. And the funniest of all - an attempt of the master to "direct" the actions of the cat, definitely not wanting to obey his instructions.

the Frame from the documentary Ingmar Bergman's "Fanny and Alexander. Chronicle the making of the film"

the Uniqueness of this, as they say, the film about the film is simple: it's the opportunity to see great masters, that is, in the natural environment of its habitat. However, it is not so: the most at ease, as we know, he lived in the space of the theater - and film set was not really his favorite place (after the completion of this work the Director has gone from a great movie). Nevertheless, today, Ingmar Bergman is for us in the first place man movie - because this chronicle has a truly incredible value.

"This could be interesting, even entertaining," reads the caption, where it all starts, and to be honest, it is still very modestly said.

the Frame from the documentary Ingmar Bergman's "Fanny and Alexander. Chronicle the making of the film"

Cm. also:

a day without Bergman: "Fanny and Alexander" (1982)

a day without Bergman: "forêt - document 1979" (1979)

a day without Bergman: "Autumn Sonata" (1978)

a day without Bergman: "the Magic flute" (1975)

a day without Bergman: "cries and Whispers" (1972)

a day without Bergman: "fauré - the document of the 1969" (1969)

a day without Bergman: "Not to mention all these women" (1964)

a day without Bergman: "the Sacrament" (1962)

a day without Bergman: "Face" (1958)