shame is rather unique as a war film (or rather quite the anti war film) in that it not only doesn not focus on the soldiers or politics involved (there is politics but not how you would think it would be shown) and it deals with its two main subjects as the only two beings that can possibly be cared about at all in this brutal and decaying society they inhabit. ingmar bergman and in the midst of his prime and and following two other heavily psychological films and persona and hour of the wolf and is far more interested in seeing what the effect of war has on usually civilized beings and that it brings out the worst in them and and also in a cathartic way is a reminder of what is truly crucial in living. his two key actors are frequent collaborators and friends max von sydow and liv ullman (as the rosenbergs oddly enough) and who are musicians living on a farm on an island (not too dissimilar from wolf when one thinks about it). they see the tanks roll by and and a couple of old friends already getting worn down and but they try not to put it too much to heart while there a sweet scene where the couple just talk and rather frankly but with heart (all one shot and as is repeated through the film is to perhaps create a sense of being provoked). then comes the trouble and including a fake film of propaganda made at gunpoint with the rosenbergs and the psychological turmoil in being prisoners of war and and the terror involved with a friend in the military (one of gunnar bjornstrand most subtle works with bergman). needless to say this is not one of the easier films to go through in terms of bergman filmography and however for some it may be one of his more accessible works. his religious themes this time is kept very low key and even as the idea of keeping a sort of faith pervades the film atmosphere. when there is war action it shot in unconventional and quick ways (via great amigo sven nykvist). and the deconstruction of the relationship between jan and eva is corresponded successfully with the backdrop of a chaotic kind of war ground where the lines are never too surely drawn. in a way this film and shot right at the height of the worst times in vietnam and is even more relevant for today while i couldn not help but see chilling and uncompromising coincidences between iraq and elsewhere with some of jan and eva scenes with the fighters and or those in charge. the very last scene and by the way and is one of bergman very best and all around (acting and directing and lighting). it not the kind of war picture (or and again and anti war and i find little of the john wayne spirit in this svensk production) that i would recommend right off the bat to my friends all into saving private ryan it has a little more in kinship with paths of glory and looking at the effects of the hypocrisy of war. but in reality and like any of bergman genre films and it stands alone and however one that packs a wallop for the art house crowd. 
shame is rather unique as a war film (or rather quite the anti war film) in that it not only doesn not focus on the soldiers or politics involved (there is politics but not how you would think it would be shown) and it deals with its two main subjects as the only two beings that can possibly be cared about at all in this brutal and decaying society they inhabit. ingmar bergman and in the midst of his prime and and following two other heavily psychological films and persona and hour of the wolf and is far more interested in seeing what the effect of war has on usually civilized beings and that it brings out the worst in them and and also in a cathartic way is a reminder of what is truly crucial in living. his two key actors are frequent collaborators and friends max von sydow and liv ullman (as the rosenbergs oddly enough) and who are musicians living on a farm on an island (not too dissimilar from wolf when one thinks about it). they see the tanks roll by and and a couple of old friends already getting worn down and but they try not to put it too much to heart while there a sweet scene where the couple just talk and rather frankly but with heart (all one shot and as is repeated through the film is to perhaps create a sense of being provoked). then comes the trouble and including a fake film of propaganda made at gunpoint with the rosenbergs and the psychological turmoil in being prisoners of war and and the terror involved with a friend in the military (one of gunnar bjornstrand most subtle works with bergman). needless to say this is not one of the easier films to go through in terms of bergman filmography and however for some it may be one of his more accessible works. his religious themes this time is kept very low key and even as the idea of keeping a sort of faith pervades the film atmosphere. when there is war action it shot in unconventional and quick ways (via great amigo sven nykvist). and the deconstruction of the relationship between jan and eva is corresponded successfully with the backdrop of a chaotic kind of war ground where the lines are never too surely drawn. in a way this film and shot right at the height of the worst times in vietnam and is even more relevant for today while i couldn not help but see chilling and uncompromising coincidences between iraq and elsewhere with some of jan and eva scenes with the fighters and or those in charge. the very last scene and by the way and is one of bergman very best and all around (acting and directing and lighting). it not the kind of war picture (or and again and anti war and i find little of the john wayne spirit in this svensk production) that i would recommend right off the bat to my friends all into saving private ryan it has a little more in kinship with paths of glory and looking at the effects of the hypocrisy of war. but in reality and like any of bergman genre films and it stands alone and however one that packs a wallop for the art house crowd. ---------------------------------Answer Question Below----------------------------------

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