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Through a Glass Darkly stands out to me as not only the masterpiece of this era, but of Bergman's entire career. This film has such a distinct atmosphere, which conveys not only isolation and melancholy, but also dark, austere beauty. Every little piece of this film fits together like a glorious completed puzzle.
May 2, 2019 · At first we see through a glass darkly, the vision is obscured. Then we see face to face, encounter one another (this happens only at the end of the film when Minus and his father speak to each other), but in God we are complete. When Karin sees God, she is not complete, but destroyed. A completely different understanding of God is suggested to ...
Through A Glass Darkly (1961) -- (Movie Clip) The Artistic Haunting Hiding his own anguish from the others, author and father David (Gunnar Bjornstrand) is treated to a play, composed for his return home, by his son-in-law (Max von Sydow), his mentally ill daughter (Harriet Andersson) and unstable son (Lars Passgard), in Ingmar Bergman’s Through A Glass Darkly, 1961.
‘For now we see through a glass, darkly; but then face to face’ doesn’t quite conclude chapter 13 of the First Epistle to the Corinthians. The next – and final – verse of the chapter gives us yet another classic and oft-quoted line from the New Testament: ‘And now abideth faith, hope, charity, these three; but the greatest of these ...
Oct 14, 2010 · A sense of claustrophobia permeates the films of Ingmar Bergman, and it's especially strong in his 1961 Oscar winner "Through a Glass Darkly," so high marks are due to Michael Attenborough for ...
Through a Glass Darkly is a Swedish drama directed by Ernst Ingmar Bergman in 1961. The film presents the story of Karin, diagnosed with schizophrenia, who spends vacations with her husband, Martin, younger brother, Minus, and father, David. The author of the present paper agrees with the given response on the film in that it is austere, icy ...
Sep 29, 2020 · Through a Glass Darkly covers approximately a 24-hour period during the time of summer when Sweden's nights are more like very heavy dusks, and this is very much part of the narrative strategy: the middle part of the film, at the dead of "night", finds Karin feeling restless and too alert, and we follow her around the inside of the house in a ...
