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Faithless

5 star:		(13)
4 star:		(1)
3 star:		(0)
2 star:		(1)
1 star:		(3)

 

 

"Faithless" is a film that explores love, infidelity, guilt, pain, and humanity. The film was written by world-renowned director, Ingmar Bergman, and directed by Liv Ullman, an accomplished Swedish actress who is also Bergman's former wife.

The film begins with an old, retired film director named Bergman (Erland Josephson) who summons his muse in order to write a screenplay. At first invisible and reluctant to show herself, Bergman's muse eventually appears as Marianne (Lena Endre) his former wife. Marianne slowly discusses her previous marriage to a famous composer, Markus (Thomas Hanzon), and the subsequent events that resulted in her leaving him for his friend and artistic collaborator, David (Krister Hendriksson) who is also the younger Bergman. The conversation takes place over several days in Bergman's seaside house and assumes the form of flashbacks. The story is not a happy one, and exploring it is clearly a painful experience for Marianne, and for Bergman who for, perhaps the first time, is able to empathize with her and is able to view his own role from the perspective of detached wisdom and sorrow.

Faithless remains a penetrating and honest psychological exploration from start to finish and closely resembles Bergman's earlier films in style and temperament (although this one is directed by Liv Ullman). This film contains its share of difficulties, but if viewers, especially American viewers can get past them they will find it enormously rewarding. Some of the difficulties of this film are:

LENGTH
"Faithless is "142" minutes of largely dialog with subtitles. Even if you're into idea-oriented films, it takes a lot of commitment and stamina to pay close attention to this one.

STYLE
This film is almost like a cinematic play. The plot unfolds almost completely through dialog. While it has its share of symbols and devices, they are very restrained. There is no slick action, or special affects, and there are no obvious heroes or villains.

SUBTLETY
Bergman and Ullman are not trying to pound blunt ideas into our heads with obvious characters and a simple plot. Many of the ideas in this film are subtle and even paradoxical. It raises many disturbing questions and provides practically no obvious answers. One thing that might help is to think of this film as an exploration, or an important conversation that we get to overhear, but not as a product designed to gratify and amuse us (that's what "Star Wars" is for).

The powerful and rewarding thing about "Faithless" is that it relentlessly explores universal emotional and psychological truths that apply to all of us. Many of the terrible things we do in life have no concrete material or circumstantial justification but they do have a powerful emotional one that is almost impossible to explain. Marianne has no immediate justification for leaving Markus, who is a good husband and who pleases her in bed. Yet at the same time she feels no choice but to succumb to the emotional change that slowly and inexorably draws her to David. One day she simply sees him as a different person altogether, and her life takes on a drastic new momentum.

If you can accept the lengthy, conversational nature of this film and are not phased by the parts of it that may seem incomprehensible or alienating, you will recognize yourself in much of it. It is unlikely that the characters, all leading members of Swedish artistic circles, resemble any of us. But we will see bits of ourselves in their emotions, their actions, and in their struggle to explain the incompressible workings of the human soul. Stick it out and see it twice if you can. It's worth it.

In the case of 'Faithless,' as in the case of several works from the Swedish director, Ingmar Bergman, the film presents a story difficult to swallow - yet necessary. For 'Faithless,' Bergman declines the director's chair, presenting it to a familiar name: Liv Ullmann, one of his best actresses. Bergman has not directed film since the early eighties, but still continues to write and stage theater productions. With 'Faithless,' Ullmann manages to bring Bergman's script, which deals with universal issues on an intimate level, to life.

The narrative begins in the study of an aging director (played by Erland Josephson). The movie's course follows the recollections of his younger years, and pain surrounding them. Ullmann's direction in the film's first sequence ushers in the mental ghost of Marianne, whose significance in the director's life leaves a deep residue of guilt.

'Faithless' stars Lena Endre as Marianne, the wife of a successful orchestra conductor, Markus (Thomas Hanzon), with whom she has a young daughter named Isabelle. Marianne and Markus share a friendship with David, an aspiring director. It is the romantic affair between Marianne and David that begins the course of heartbreak and betrayal.

For the older version of the director, Marianne's presence is that of a fully realized memory. She emerges out from the shadows, takes a seat on the windowsill, and begins to recite the events buried within the director's mind. Without question, guilt serves as a key theme in Bergman's 'Faithless.'

It should be noted that the movie's situations do not deviate far from actual experiences in Bergman's own life. Ullmann depicts issue of infidelity and regret, the core of this story, with impeccable honesty. While many movies dealing with infidelity handle the subject matter in a light-handed tone, 'Faithless' refuses to ignore the sensitive nature of the subject.

One might be curious as to which direction the movie's sympathy intends to lean. Some might argue that Faithless lacks a single 'likeable' character. Marianne, Markus, and David all commit horrendous sins - hurting each other and themselves. Yet the film manages not to judge them too severely, choosing instead to empathize with them in light of their guilt. One must feel some degree of compassion for these individuals, considering how real they appear. These are people that we all know, and these are people that we are: Flawed, cruel at times, inconsiderate, selfish, but with a redeeming emotion of regret.

The movie's real power comes from the way in which we can identify with their nature and recognize it as our own. Consider David, an adulterer in the midst of an affair with Marianne. Regardless of his own infidelity, he should be so inclined to express feelings of jealousy over Marianne if she expresses interest in another - as if he owned her. These kind of actions hit a familiar note with most people.

One shouldn't shy away from a foreign film such as 'Faithless' out of the fear that it may be too artsy, pretentious, or boring. Ullmann has crafted a film that proves to be anything but exclusionary - it's a movie that can useful to all, if one keeps an open mind.

There's much left to be discussed after the film ends. Numerous images strike the nerves - in particular, one of Isabella weeping in her room as her mother spits obscenities at David. This scene struck a chord in several audience members, talking about the film later. Such unforgiving and honest sights serve as the true sign of an important movie.

Ensconced in the study of his house on a secluded island off the coast of Sweden, an aging director reminisces and reflects on aspects of his life apparently still in need of resolution, in "Faithless," written by Ingmar Bergman and directed by Liv Ullmann. Bergman is the name of the director, played by Erland Josephson, who engages in a fantasy conversation with a woman named Marianne (Lena Endre), who confesses to him her affair, after eleven years of marriage, with a man named David (Krister Henriksson), the best friend of her husband, Markus (Thomas Hanzon). Through their conversations, as well as scenes depicting particular episodes from her life-- beginning with the initial encounter with David-- we learn the intimate details of Marianne's life, as well as Markus' and their young daughter's, Isabelle (Michelle Gylemo) and, of course, David's. It's an intense, engrossing character study that examines the weaknesses and foibles of human nature to which we are all susceptible. It's a story that is, by turns, grim and thoughtful, at times poignant, while at other moments distressing, as it reflects the myriad emotional levels to which the human condition is prone at any given time. As the story progresses, it becomes impossible to distance yourself from the characters involved in the drama, for there is so much about them with which anyone in the audience will be readily able to identify; not necessarily with the infidelities, but grounded in the choices we all must make throughout our lives and the consequences thereof, and upon which a film like this precipitates rumination. As with all of the films Bergman has written and/or directed during his career, it is a pensive, thought-provoking incursion into reality. As she proved with her directorial debut of the 1997 film "Private Confessions," also scripted by Bergman, Liv Ullmann is more than up to the formidable task of bringing Bergman's story to the screen. Her style of directing is similar to Bergman's, as could be expected-- their close working and personal relationship has spanned more than thirty years-- but her approach is perhaps a bit softer than his, and uniquely her own. In the final analysis, any similarities are primarily due to the story, which lends itself to the style Bergman perfected and upon which Ullmann certainly draws. It's not so much a matter of imitation as it is of following an intrinsic pattern conducive to the storytelling, and Ullmann has an innate sensitivity to the material that translates into the presentation of the drama and elicits the necessary sympathy and compassion from the audience that enhances the impact of it. Like Bergman, she uses the camera to help capture the sense of the drama visually, which at times creates an almost ethereal, poetic atmosphere that contrasts so well with the more stoic aspects of the story. Ullmann has an excellent sense of rhythm, and the pace of the film allows the viewer time to assimilate the many nuances of emotion expressed through the characters. Lena Endre gives a remarkable performance as Marianne, infusing a passion into the character that makes it ring so true to life, and it's one of the strengths of the film. She bares Marianne's soul, leaving no question as to the inner turmoil with which she must cope, and it reflects in Bergman's character as well; through her struggles we also feel the remorse of Bergman's character, and upon reflection it makes you realize how effective Josephson is in the role of Bergman. For it is in his subtle reactions to the phantom Marianne, and in his silent ruminations, that we learn so much about all that has transpired in their lives. Henriksson gives a notable performance as well, deftly exposing the complexities of the character that lie beneath the somewhat reserved exterior of the man, while Hanzon is effective as Markus, as is Gylemo as the young Isabelle. With "Faithless," Ullmann firmly establishes her mark as an artist of extraordinary vision and sense of reality. Her collaboration with Ingmar Bergman is a cinematic triumph, and we can only hope that there will be more to follow, for with every film they make, another chapter is written in the Book of Life.

Liv Ullmann and Ingmar Bergman.What can I say?With no fancy talk,let's get down to business.The screenplay (by Ingmar Bergman) is terrific as always.The director,Liv Ullmann,had a great teacher.A very few times in my life I saw the reviews that this movie had...I did not see one single bad review of this movie.The worst one was 3 and half out of 4 stars.Another work of art in the long and fruitful collaboration between Liv Ullmann (the first lady of cinema) and Ingmar Bergman.(maybe the greatest filmmaker of all time.) Lena Endre is amazing on it.Is that simple.

A crushing, atmospheric tale of infidelity from writer Ingmar Bergman and director (and former Bergman protege), Liv Ullman. [Not to be confused with the forthcoming American release, 'Unfaithful,' with Richard Gere and Diane Lane].

Lena Endre is wonderful and warm here as Marianne. She is so fallible and human that we relate to her instantly. Her journey from faithful wife to one in the midst of a full-blown affair to a heartbroken wife and mother dealing with the consequences of her actions is heart-breaking.

The other actors here are exceptional too, especially Erland Josephson as Bergman, the old man by the sea (a character based on Ingmar Bergman himself), and the little girl playing the daughter.

Faithless has echoes of the French film 'An Affair of Love,' (in its use of colors and atmosphere, and the exploration of new lovers embarking together into a new passion), but Faithless deals boldly with marital infidelity, instead of just a 'simple' love affair.

This film is somewhat long and doesn't paint the happiest of pictures, but it is engaging as a snapshot of life, and of lives torn apart by choices that, once made, can never be un-made.

What is remembered of this film, as time goes by, is more than just the tragic story of the characters. The scenery and moodiness also factor into the picture. The charcoal Swedish sea and sky seen outside the pale-blonde wooden windows of the old man's house provide a heart-breaking back-drop to this tale. Just like the sun-dappled Parisian streets and warm-colored hotel room reflect the new-found love between Marianne and her lover. The chrome-grey rain falling against the hard black sea at the end of the film stays with you, haunting your heart and bringing Marianne's choice and the pain she must deal with as she looks back on her life into sharp and unrelenting focus.

Recommended.

On this movie,Lena Andre proves that she's on the same level of all swedish actress from the past;Greta Garbo,Ingrid Bergman,Ingrid Thulin,Bibi Anderson etc...) The screenplay by Bergamn is one of his best.Liv Ullmann is a great director.5 out of 5.

This film is moving and gripped me from beginning to end. I have one major gripe however about the DVD. The chapter title of the last segment, which you can read on the DVD case and when you go to "menu" and "chapters" while watching, gives away a crucial plot point. It would be much better for this to remain a surprise.

If you watch this film, keep your eyes averted from the case and the chapter titles until you've finished!

Throughout his career, Bergman resisted ending his films with pat resolutions that tied up all loose ends. They almost always end ambiguously, darkly but with a hint of fragile hope.

In "Faithless," written by Bergman and directed by Liv Ullmann, this pattern continues. Confessional as are all his movies, "Faithless" is a merciless self-examination on Bergman's part of his numerous past infidelities and the pain they caused to both himself and others. In an astoundingly insightful move, Bergman structures the film as a memory. The aged dramatist (Erland Josephson) invokes his "muse," the memory of a past lover named Marianne (played by Lena Endre), and she retells the story of her adulterous involvement with the young dramatist (played by Krister Herriksson). The scenes switch between Lena speaking directly to the old dramatist in his study and dramatizations of the story Lena is telling--perhaps the play the old dramatist himself is writing (that's just how wonderfully multi-layered the script is).

Both the script and the acting are so powerful that the film--really more theatrical than cinema, one of Bergman's famous "chamber pieces"--at times is almost too painful to watch. Endre's range of emotions is astounding--giddy love, crushing guilt, maternal despair. Erland Josephson, the veteran Bergman ensemble actor, actually has very few lines. But his facial expressions as he listens to his muse communicate perfectly the character's guilt, nostalgia, and need to find some kind of closure on his past. Herriksson as the young dramatist is a pathetic neurotic who preys on women--as damning a self-portrait as Bergman ever wrote.

Ullmann's directing style is in the classic Bergman mode: focus on faces, long silences, spartan sets. And the film ends as it must: the old dramatist, after remembering and reliving the details of the past infidelity, is shown walking by himself on a solitary beach. Has he reached closure, or is he still haunted by the past? There's really no indication one way or the other, probably because the question offers too simple an either-or. Life is ambiguous.

Some viewers complained that the movie is boring. I was so mesmerized by it that although I caught it on one of my Fio channels at 1:00 a.m., I had to watch it to the end, at 3:30 a.m. This is one of the most compelling of Bergman's scripts. Although he had often dealt with remorse before, I don't remember him focusing with such intensity on a young girl--Marianne's daughter--the innocent victim of her mother's faithlessness. Whenever Marianne remembers how she wrecked her daughter's life through her reckless affair with the director Bergman, her anguish is so searing and visceral that it seems the world has just stopped breathing. It is here that Lena Endre's riveting performance transcends even its excellent self, reaching a spiritual depth (or is it height?) that holds us captive in her and our own humanity. The wages of sin is a cliche that doesn't begin to unpack the poignancy of the mother's regret, always mixed with a devilish sense of irresponsibility which sweeps her along to further exploits of adultery. She is helplessly trapped in her affair while her daughter is left alone and irreparably damaged. It is the painful rift between mother and daughter that gives this drama its profound tragic sense, akin to the relentless familial devastations of Greek tragedy.
Bergman's script surprises not only in its insight into a mother-daughter relationship, but also in its articulation of a woman's emotional world. As far as I can remember, no other work of his puts the woman's inner world front and center and explores it with lucidity, detail, and eloquence. The only question I have for Bergman--wherever he is now--concerns his view of infidelity as human fate, sealed within our human DNA. There is no Bergman without betrayal. Moreover, his betraying husbands and wives commit their betrayals almost thoughtlessly. Yes, they are often portrayed in anguished and tragic conflicts, but these conflicts kick in after the betrayal, not before. Although in our cynical culture many view adultery as trivial, I do not and neither does Bergman, but he doesn't explain it. Was she unhappy with her husband? Was she "addicted" to her lover? Was she attracted to "sin" and the inevitable suffering it brings? Betraying a husband or a wife seems to me the mother of all betrayals, and I usually want to know why people deceive their loved ones. However, I am certainly not going to get the answer from Bergman who sees betrayal as a given, an essential human element, inseparable from love.
Ullman's direction is wonderful! It illuminates this script from within and adds warmth and color to the typically bare Bergman's setting. It furthermore rounds Bergman's harsh corners without sacrificing depth or intensity. The wind-shaped trees are so fine! And so is every piece of furniture in that room, especially the window sill where Marianne starts her astonishing story. The old director's mostly wordless reactions to Marianne's story are as artistically accomplished and moving as her shimmering verbal waterfalls. The two are thirstily drinking each other's utterances, whether in silence or in speech, for the intimate understanding and reckoning which had heretofore escaped them.
This is a masterpiece, any way you look at it.

"Faithless" brings back a type of film regrettably not made much any more:
An intimate, character-driven study of love, sex and regret.
What makes this sublime is the Bergman script, Ullman's direction and the probing acting, especially by Lena Endre.

Over 2-1/2 hours we get sucked into a story that is both deeply personal and completely universal: marriage, cheating and the aftermath.

The film is quiet, intense, and utterly spellbinding. It proves again that one of the greatest horrors you can portray on-screen is the simple act of two people trying to talk to each other.