Product Details

• Actors: Harriet Andersson, Liv Ullmann, Kari Sylwan, Ingrid Thulin, Anders Ek
• Directors: Ingmar Bergman
• Writers: Ingmar Bergman
• Producers: Lars-Owe Carlberg
• Format: Color, Subtitled, NTSC
• Language: Swedish
• Subtitles: English
• Rating: R (Restricted)
• Number of tapes: 1
• Studio: Homevision
• VHS Release Date: June 16, 2000
• Run Time: 91 minutes
• Average Customer Review: 4.5 out of 5 stars  See all reviews (61 customer reviews)
• ASIN: 6302919509
• Amazon.com Sales Rank: #3,099 in Video (See Bestsellers in Video)

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  #1 in	Video > Art House & International > European Cinema > Sweden
  #2 in	Video > Art House & International > By Original Language > Swedish
  #11 in	Video > Drama > Family Life > Brothers & Sisters

Editorial Reviews

Amazon.com essential video

Ingmar Bergman's great 1972 film is about the elemental things: death and dying, sex, injury, repression, and the body as a fount of sustenance. No wonder Bergman chooses to focus on female characters, in this case three sisters--one of whom is dying of tuberculosis--and a maid who is the only one capable of caring for the ill woman. The film is noteworthy for many reasons, not least of all an interesting camera style that marries beautiful imagery with an anxious frame. That tension perfectly suits the overlapping psychodramas of the piece, but this is a movie that ultimately pushes beyond the particulars of these characters' virtues or neuroses to a greater mystery, one that somehow sustains our existence while slowly taking it away. A landmark film. --Tom Keogh

Product Description

One of Ingmar Bergman's most honored and critically acclaimed films, Cries and Whispers is a complex and harrowing drama of four women's search for spiritual peace in a world that seems to offer only disorder and despair. Harriet Andersson renders a powerful performance as Agnes, a spinster dying of cancer, who is visited one last time by her sisters, Maria (Liv Ullmann) and Karin (Ingrid Thulin). The sisters, and the peasant housekeeper (Kari Sylwan) who cares for them, struggle to make connections within this barren landscape. Bergman, through his lean style of direction, his masterful use of the color red, and his revealing close-ups, creates a disturbing psychological realm through which his characters roam. Sven Nykvist's stunning cinematography earned him an Oscar® and the brilliant ensemble performances gave further evidence of Bergman's legendary skill as an actor's director.

Customer Reviews

Most Helpful Customer Reviews

21 of 22 people found the following review helpful:

5.0 out of 5 stars Haunting, February 1, 2003

By	Joanna Daneman (Middletown, DE USA) - See all my reviews (TOP 10 REVIEWER)    (COMMUNITY FORUM 04)

This review is from: Cries & Whispers - Criterion Collection (DVD)

I first saw this film when it was released in 1972. Everyone on campus was excited--a new Bergman film was an event in the arts community there. So I trooped along, a merry teenager, to see my first Bergman film.

Oh my. The opening scene was unlike anything I'd ever seen, even in a foreign film. The first scene opens on Agnes (played by Harriet Andersson) waking up in pain and thirst. She is obviously dying, and taking her time about it. The opening minutes are some of the most extraordinary in cinema. The harshly sunlit room points up the transparency of Agnes' skin, her parched lips, her ravaged frame. The camera moves in tight for closeups (which is a testament to the makeup artist for this film.)

Agnes' awakening seems far more real than the studied mannerisms of her sisters Maria (Liv Ullmann) and Karin (Ingrid Thulin.) Maria is a silly goose, and Karin is a dour disciplinarian. They are caught in lifeless marriages. Each seeks escape in one form or another. But there is no escape from their sterile lives or their ties to their sister, who must represent their souls which are as parched and dead as Agnes'cancer-riddled body.

This is one of the most unforgettable, if depressing films I've ever seen. Only Kurosawa's "Enkiru" comes close to it in subject manner, and it is a walk in the park by comparison. For sheer film excellence and uniqueness, "Cries and Whispers" stands alone on a frosty mountain peak.

Best seen with a box or two of tissues and some kind of anti-depressant.

15 of 15 people found the following review helpful:

5.0 out of 5 stars BRILLIANT, DISTURBING EXPLORATION OF HUMAN FRAILTY, May 9, 2001

By	RALPH PETERS (CLOVIS, CA USA) - See all my reviews

This review is from: Cries & Whispers - Criterion Collection (DVD)

There was such a buzz of excitement and curiosity about this film during its initial U. S. release that I would have given almost anything (at age 12) to sneak off and see it. No such luck; I would have to wait another 12 years for the video version and, in retrospect, am glad to have had the extra years. Some of the images in this brilliant collage of thoughts and dreams are far too disturbing to take in as an adult, let alone in childhood. As is the mark of a true classic, CRIES AND WHISPERS grows richer and more meaningful upon each repeated viewing (as do PERSONA, THE PASSION OF ANNA, and SHAME--other classic Bergman entries during this period of his epoch). The meanings of the flashbacks begin to gel in our minds and connect with some of the sisters' subsequent behavior (or not) and the painful, earthbound reality of death and its horrors has rarely been more poignantly portrayed in film. Much credit goes to these wonderful actresses: the legendary Liv Ullmann, whose physical beauty is transcended only by the grace and dignity of her soul; the difficult but finally endearing Ingrid Thulin; the strength and dignity of Harriet Andersson as the dying Agnes--a performance of overwhelming power and conviction that, inexplicably, was absent during the awards seasons.

But, finally, it is the dreamlike authority and insinuation of Bergman's camera that stays with us, scenes so initmate and personal we begin to feel voyeuristic, almost apologetic for watching. Two scenes are most memorable for me: the dying Agnes lying against the maternal breast of housekeeper Anna in a Pieta-like pose of unbearable sadness and the final dream/memory sequence of Agnes remembering a time when she and her sisters were happy and at peace in their mother's garden. The camera lingers on the luminous Harriet Andersson as she wistfully gives grace to her life, "which gives me so much". If those words and the expression on that actress's face don't inspire the deepest, most profound gratitude for the medium of film (and Bergman the Master), I don't know what will. Most highly recommended.

23 of 26 people found the following review helpful:

5.0 out of 5 stars One of Bergman's Most Memorable Films, November 2, 2002

By	Gary F. Taylor "GFT" (Biloxi, MS USA) - See all my reviews (TOP 50 REVIEWER)    (REAL NAME)

Upon its release CRIES AND WHISPERS was hailed as one of Bergman's finest films. Although it has not quite held onto that original evaluation, it remains a very fine film--a subtle and delicately performed drama as remarkable for its silence as for its occasional moments of dialogue. And in many respects it offers an extremely good introduction to Bergman's work.

Like many of Bergman's films, CRIES AND WHISPERS shows the director's preoccupations with memory, communication, time, community, and death. The story is bleak: Agnes is dying and her sisters Karin and Maria have come to attend her during this final illness--but they prove unable to communicate in a meaningful way with either Agnes or each other, and Agnes' emotional care is left largely to her long-time maid, the devoted Anna.

As the film unwinds, we are bought into the memories of each woman in turn. The dying Agnes (played with powerful realism by Harriet Andersson) not only graples with increasing pain, she recalls with regret the emotional separation that existed between her long-dead mother and herself. Sister Maria (Liv Ullman), a mindless sensualist, recalls an act of adultry that has poisoned her marriage; Sister Karin (Ingrid Thulin), who is emotionally cold, recalls an act of self-mutilation designed to thwart her husband's desires. Only the maid Anna (Kari Sylwan), with a peasant's directness, actually works to be of comfort, even going so far as to cradle Agnes' head on her naked breast and dreaming of comforting Agnes while her sisters fail.

The film is ever so delicately tinged with subtle elements of lesbianism, sadomasochism, and incest, and the emotional problems experienced by Maria and Karin are at least partly sexual in nature--but these are not the focus of the film so much as they are surface indications of a deeper internal turmoil. As to what that deeper turmoil is... Bergman might say it is the nature of life itself. We each stand alone, usually in denial of our own mortality, usually unable to reach each other in any meaningful way. A deep film, and in spite of its occasional awkwardnesses a memorable and touching film. Recommended.