Quite simplistic, considering his oeuvre, but the themes of God the Father and Father the Father run through just about everything he did. However, this account leaves something out: From other accounts I've read, and from what I've read/heard Bergman himself say in interviews, his father was a cold, remote and undemonstrative man. It must have been very confusing for a boy to be taught that God hears all prayers, when the man he saw as God's representative was, for him, so unreachable.
Answer: Soren Kierkegaard
. "I see it all perfectly; there are two possible situations - one can either do this or that. My honest opinion and my friendly advice is this: do it or do not do it - you will regret both."
quotation even more apt to my reaction to THROUGH THE GLASS DARKLY
: "How absurd men are! They never use the liberties they have, they demand those they do not have. They have freedom of thought, they demand freedom of speech." I felt that Bergman
had some beautiful thoughts (assisted greatly by Sven Nykvist
), but unfortunately demanded to say them, redundantly and not as strikingly. As Mr. Arkadin wrote:
As a film, Through a Glass is problematic for me because it seems more like a wordy discourse than a piece of cinema. That’s not to say it doesn’t have some striking visual moments, but that the characters are too knowing and stagebound to be believable in my eyes. I don’t fault the actors, but the script, which seemed to overemphasize every tiny point to distraction.
Like Mr. Arkadin, I found it uncinematic. As exquisite as some of the shots were, I saw photographs, not moving
pictures, and the script sucked any possible life right out of them.
It did cause me, however, to think about why I so adore Dreyer
when, on the surface, there are similarities to what Bergman
does with THROUGH THE GLASS DARKLY
. I could only conclude that their moving
pictures add depth of meaning(s) to any dialogue, whereas Bergman
, here at least, has his characters talk over and merely reiterate what is in front of the eye.