4 The Daily Tar Heel Friday, September 19, 1975
Bergman film 'lucid and intelligent throughout
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Marriage has been the victim of many
films, and in most of them the audience
is victimized, too. However, Ingmar
Bergman's Scenes From A Marriage
remains lucid and intelligent
throughout, keeping an objective
viewpoint and avoiding sentimentality.
The six scenes in Scenes span twelve
years in the lives of Johann (Erland
Josephson) and Marianne (Liv
Ullmann). After the third episode, the
two are already signing the divorce
papers. But it is in these final episodes
that Bergman gives us the real
"marriage" between the two; after the
separation they finally learn how to
accept each other.
The film begins with Johann and
Marianne being interviewed by an
effervescent magazine writer who
bubbles on and on about how perfect
their marriage is. Johann describes
himself as middle-aged, intelligent and
virile. Wife Marianne, on the other
hand, is weak and dependent, relying on
Johann for most of the words to
describe herself. Later, after witnessing
a verbal clash between two married
friends and the testimonies of her
clients, Marianne demands reassurance
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from J ohann that their marriage will not
fail.
But Johann doesn't allow himself to
be so optimistic. Though he tries to be
patient with Marianne's weaknesses
(she doesn't like sex as much as she used
to, which really bothers him), he tires of
her optimism and her dotingness, and
:0
by Hank Baker
Scenes from a Marriage, starring
Liv Ullmann and Erland Joseph
son, was written and directed by
Ingmar Bergman.
their differences begin to grow on him.
He suddenly decides to leave her for a
young girl named Paula, with whom he
has fallen in love. The night before he
leaves, Marianne tries to persuade him
to help piece their relationship together
again because she can't bear the shame
of knowing they have failed. She also
fears having to face herself on her own
terms instead of Johann's. Burning with
guilt feelings, Johann stubbornly avoids
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ELUOTT GOULD and DONALD SUTHERLAND
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the subject by keeping an emotional
distance. Finally her pleas sting him
and he lashes out, telling her that he has
hated her for a long time, and that he
needs a change from their boring
married routine.
If this all sounds like soap opera, it
isn't. Bergman has deleted all the
sentiment that turns many films on
familiar marriage problems into pure
melodrama. There are no stereotypes
here: Johann is not the evil, lecherous
husband and Marianne is not the
wronged wife destined for martyrdom.
In fact, one of her first reactions to
Johann's leaving is, "What will everyone
say?" Johann leaves because he needs
excitement, which his relationship with
Marianne lacks, and because he is
infatuated with another woman.
Marianne suffers from insecurity and
from her own selfishness. And who can
deny them these feelings? They still love
each other, but their differences have
made them incompatible.
Johann returns after six months and
divorce proceedings get underway.
Marianne has survived the stress of his
absence and the two are quite friendly.
But as the signing of the divorce papers
approaches, it is increasingly obvious
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DILLMAN
Directed by JOHN FRANKENHEIMER
H M- 1 ! ttKIIlj
(Oct. 31-Nov.6)
ALAN BATES
JESSICA TANDY
RICHARD OCAJXAGHAN
(Nov. 7-13)
KATHARINE HI PBURN
PAUL SCOHF LD
LEE R I.MICK
KATE RUD
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FIVE DAYS OF THE MOST INTENSIVE
MANHUNT EVER MOUNTED
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that Marianne has become the stronger
of the two. She has begun to accept the
divorce while Johann now wants her
back. When Marianne brings him the
papers at his office, he hesitates to sign,
setting off a violent scene in which he
and Marianne physically and verbally
attack each other he out of
frustration, and she out of
misunderstanding of his hesitation.
Ultimately, the divorce goes through.
Years later, Johann and Marianne,
having each re-married, go off on
romantic weekends together to get away
from their spouses. Freed from the
stress and routine of married life
together, they have learned to love and
accept each other.
Although Bergman keeps an
intellectual distance from his characters,
his camera doesn't. Sven Nykvist shoots
the film mostly in mid-shots and close
ups to get the audience involved with the
characters, but he pulls back just
enough during a poignant scene to avoid
betraying Bergman's purpose. There are
no visual symbols here, and none of
Bergman's usual ambiguities and
philosophical thematics. In Scenes
From A Marriage he works on a level
more accessible to general audiences,
which accounts in part for the film's
popularity.
Liv Ullmann and Erland Josephson
play Marianne and Johann impeccably.
Both characters go through changes in
the learning process. Miss Ullmann's
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Scenes From 5
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We York Film Critics, 1 970
CESTF;mnEBFWlJm
CESTCTiESTBR Bot RiMan
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LATESHOW
Fri.-Sat.-
11:45
Tickets for 'Scenes From A Marriage' go on
sale at 2:45 and may be used for any
performance that day.
Tickets for 'Five Easy Pieces' go on sale at
10:30 p.m. Friday and Saturday nights.
chameleon-like changes in emotion,
particularly in the office scene, are
startling at times. Her Marianne can be
a doting, happy-go-lucky bride or a
bitter, angry, suffering woman.
Josephson, who also played the doctor
in Cries And Whispers, matches her as
the pompous, cynical husband, afflicted
with indifference and then despair. The
two complement each other and their
relationship seems real and natural. Bibi
Andersson, a brilliant and lately
underworked actress, contributes a
strong performance as a woman caught
up in a loathsome marriage that she
can't escape.
Unfortunately, there are problems
with the film that have nothing to do
with Bergman, but with the distributors.
Scenes was cut from its total of six one-
Dark of the Moon'
premieres
The Carolina Playmakers production of
'Dark of the Moon' opens Wednesday, Sept.
24 in Chapel Hill's Forest Theatre on the
UNC campus.
Howard Richardson's play, which is based
on the ballad 'Barbara Allen,' deals with the
legends, superstitions and customs of the
Smokies. Its plot centers around two main
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hour TV episodes down to 2 hours and
45 minutes. Granted, few people could
sit through a six hour film, but there are
large gaps in the film in which vital
characterization and interesting scenes
are lost. Thus, several episodes don't
come together into a comfortable,
thematic whole and the viewer feels
deprived. Some of the time gaps are so
large that you think the projectionist has
substituted the wrong reel. Someone has
bought the six episodes for American
TV, so Scenes in its entirety will
probably be available soon.
Also, the version presently being
shown here is dubbed, so wait at all
costs; the subtitled version will arrive
soon. In dubbing synchronization, not
acting, is the major concern, and in this
fiim,that really makes a difference.
Wednesday
characters: John, a witch boy who wants to
become human, and Barbara Allen, a lovely
but fickle mountain girl. UNC journalism
professor Walter Spearman plays Mr. Allen
in the production.
Much-produced since its 1951 opening.
'Dark of the Moon' has been subject to
almost countless variations. It has been
translated into the Cajun dialect,
transformed into dance and performed by
the London ballet company, and it once
starred Cicely Tyson in her acting debut.
Broad in its scope, the biggest problem
with the play, according to Playmakers'
director Tom Rezzuto, is "to get it combined
into one thing.
"It's got a lot of excitement, a lot of drama,
pathos, music, comedy and suspense,"
Rezzuto said.
Audience reactions to 'Dark of the Moon'
have been as varied as its artist
interpretations, according to playwright
Richardson.
"I was asked by a little old lady if 1 were the
one who had written this vile play,"
Richardson said, recalling a Washington
production. "When I replied that 1 was, she
tried to hit me over the head with her
umbrella."
'Dark of the Moon' w ill run for four days,
Sept. 24-27. Curtain time is 8 p.m. and
tickets are available for $2.7-5 at the Carolina
Playmakers business' office or at Ledbetter
Pickard downtown. - -
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