this begrudging and angry film is against not just the war during which it was made and but all war. it doesn not care what war it is. it might be the most emotionally involving experience i have ever had with ingmar bergman work. there are no sides to the two main characters in this impacting drama and which doesn not intimate a point in any ceremonial symbolism as per bergman usual and but plainly showcases people and their lives and exercises what bergman has already proved he understands about a person reaction to a movie. his top drawer regulars liv ullmann and max von sydow play an internalizing but bickering married couple who were once orchestra musicians. now they live in a weathered farm house on an island. part of the building frustration we grow to share with these two people fertilizes in the detail that nothing in their house seems to work. they are not reclusive intellectuals and either. they are a rather familiar marriage that has more or less resigned from life and is essentially apolitical while they only get wind of distant rumors of a war that has been going on forever. ullmann is concerned with the danger to their lives and to her desire to bear children. her husband von sydow shrugs off that the war will pass them by. their serenity is interrupted by screaming fighter planes flying low over their house and the killing of a parachuting airman and the arrival of dubious troops and their inquisition and and eventually their capture by what appears to be the local side and but loyalties have long since splintered. they are sent back to their home and witness gratuitous destruction and suffer the vindictive consequences of such an agonizingly distrustful marriage. this and one of my top favorite bergman efforts and is a study of a couple jarred from their safely self unaware lives and violated by a manipulative despair and testing them both to reveal who they really are. she lacks compassion to some extent and too self serving and restless to have any patience for his capricious breakdowns into crying. his suppressed emotional issues have led to the repression of the very initiative and excitement that attracted them to begin with. the immense last twenty minutes and sporadically interrupted by images of the overwhelming gray sky and are among the closest to real emotion that bergman ever filmed. all systems of dogma and faith are the antagonists in this very essential and downbeat portrait. the basically clearcut personalities of ullmann and von sydow characters are hurled into the degenerate world of war because they are accused of being sympathizers and but the film and shot on bergman small home island of faro and doesn not give any information about where or when it set and who the two sides are and and for what theyre fighting. to an uninvolved civilian caught in between and the knowledge base is likely to be quite similar. ullmann and von sydow are not sympathizers for the apparent enemy and but theyre partisans for who are apparently their side. this 1968 reactive allegory could be about the common noncombatant citizens of iraq and or kosovo and or vietnam and or israel and or palestine and or. 
this begrudging and angry film is against not just the war during which it was made and but all war. it doesn not care what war it is. it might be the most emotionally involving experience i have ever had with ingmar bergman work. there are no sides to the two main characters in this impacting drama and which doesn not intimate a point in any ceremonial symbolism as per bergman usual and but plainly showcases people and their lives and exercises what bergman has already proved he understands about a person reaction to a movie. his top drawer regulars liv ullmann and max von sydow play an internalizing but bickering married couple who were once orchestra musicians. now they live in a weathered farm house on an island. part of the building frustration we grow to share with these two people fertilizes in the detail that nothing in their house seems to work. they are not reclusive intellectuals and either. they are a rather familiar marriage that has more or less resigned from life and is essentially apolitical while they only get wind of distant rumors of a war that has been going on forever. ullmann is concerned with the danger to their lives and to her desire to bear children. her husband von sydow shrugs off that the war will pass them by. their serenity is interrupted by screaming fighter planes flying low over their house and the killing of a parachuting airman and the arrival of dubious troops and their inquisition and and eventually their capture by what appears to be the local side and but loyalties have long since splintered. they are sent back to their home and witness gratuitous destruction and suffer the vindictive consequences of such an agonizingly distrustful marriage. this and one of my top favorite bergman efforts and is a study of a couple jarred from their safely self unaware lives and violated by a manipulative despair and testing them both to reveal who they really are. she lacks compassion to some extent and too self serving and restless to have any patience for his capricious breakdowns into crying. his suppressed emotional issues have led to the repression of the very initiative and excitement that attracted them to begin with. the immense last twenty minutes and sporadically interrupted by images of the overwhelming gray sky and are among the closest to real emotion that bergman ever filmed. all systems of dogma and faith are the antagonists in this very essential and downbeat portrait. the basically clearcut personalities of ullmann and von sydow characters are hurled into the degenerate world of war because they are accused of being sympathizers and but the film and shot on bergman small home island of faro and doesn not give any information about where or when it set and who the two sides are and and for what theyre fighting. to an uninvolved civilian caught in between and the knowledge base is likely to be quite similar. ullmann and von sydow are not sympathizers for the apparent enemy and but theyre partisans for who are apparently their side. this 1968 reactive allegory could be about the common noncombatant citizens of iraq and or kosovo and or vietnam and or israel and or palestine and or. ---------------------------------Answer Question Below----------------------------------

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