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Autumn sonata mother and daugther script12/27/2023 ![]() Sorry for leaving Eva and dad so often, sorry for neglecting Eva, sorry for not showing the love that Eva deserved. The mother seems to be going around in circles with her past experiences but really what she needs to do is say she's sorry, and mean it. All Eva wanted was to feel love and care from her mother, but she was too busy with her piano and being somewhat selfish. They have walls up that neither of them are trying to break down. It's almost like they can't be real and genuine in front of each other. It's weird because they're mother and daughter, yet it seems like they are strangers to each other at times. It feels Eva wishes she was like her mother and her mother wishes that she could feel like Eva does. I think mother's problem is that she swats away any sort of emotions, not letting herself feel sad or grieve or even mourn. She puts on a good show, but it's going to be really interesting to see if she really gets sentimental and breaks down and cries. Wow, the mother really likes to talk about herself and make everything about her. ![]() Wow, what a beautiful countryside there in Norway with all the rolling mountains bordering the lake. Autumn Sonata is a provoking and emotionally-draining drama. Here, monologues are completely shorn of their theatrical quality, resulting in some of the most achingly realistic, gut-wrenching movie scenes ever. The theatrical origins of monologues writ large no matter how cinematically delivered and presented. Turning a blind eye to them in hope (or rather in belief) of them fading away with the passage of time as if they were merely bitter childhood memories would only further deepen and engraving them into the growing psyche, later coalescing into a distorted identity on the verge of collapse once the past unfolds, and grieving is the catalyst for that. In Autumn Sonata, these wounds are of maternal apathy and callousness. Time can only cause them to internally exacerbate, until they become unendurable. Actually, when it comes to these scarless wounds, it's the other way around. Time doesn't heal all wounds, even the scarless ones. Overall, still a very good component of the filmography of both Bergmans, which remains thematically sharp as all sincerely human dramas tend to. ![]() My only complaint (if you can call it that) about Autumn Sonata is that it feels very much like a cinematic adaptation of a theatrical play, even though the domestic discord source material doesn't necessitate any grand flourishes (and is likely better for not including any). These are characters built on basic human principles and are executed well both in the screenplay and in front of the camera with top-notch performances, and they largely succeed in conveying the principles of basic human weakness and irreconcilable intergenerational differences. Charlotte represents personal ambition and self-fulfilment (at the expense of a sense of indifference and selfishness) while Eva is an embodiment of childhood trauma, an existence that didn't ask to be created before being left to fend emotionally for themselves (recognizing the limitations in holding onto the past, but unable to let go). The brilliant aspect to their discord is that it feels organic and real while exploring (i.e., an actual conflict) while touching on two characters that are simultaneously flawed yet completely relatable. The film relies almost entirely on the dynamic between its two main characters, Ingrid Bergman's Charlotte and Liv Ullmann's Eva, a mother and daughter who gradually revisit the unresolved trauma of their pasts in a way that they had found more convenient to gloss over or forget. Somehow the only collaboration between legendary Swedish director Ingmar Bergman and equally legendary Swedish actress Ingrid Bergman (no relation), Autumn Sonata was not immediately hailed as a masterpiece by contemporary audiences, and it's somewhat understandable why - it combines more active dialogue (abandoning the lingering empty space that the director often used to great effect in the past) with a subjectively restrained visual composition (nearly all of the scenes take place in relatively nondescript Swedish houses). Is it the same for everybody, or do some people have a greater talent for living than others? Or do some people never live? They just exist."ΔΆ022 Millennials/Gen X: "Honestly bro same." 1978 Tragic Family Drama: "I wonder whether I've lived at all.
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