De la vida de las marionetas

Bergman's working with a very restricted palette here, as he did with The Rite or Winter Light. The romantic, funny touches you expect from him are missing. Peter's mind is crumbling; he's a modern Othello obsessed with his wife's fidelity amid the tasteful furniture of their elegant home. All the action is seen through the distorting lens of Peter's madness. Why would his wife say, in front of strangers, that she has to get drunk to steady her nerves at her mother-in-law's place? This is the disturbed mind at work.

The acting is fine. Robert Atzorn and Walter Schmidinger do very well as, essentially, two sides of the same coin (the stodgy businessman and the gay fashion designer). Christina Buchegger is wonderful as Katharina, the wife; her attempts to win out over Peter's psychosis give the film what drama it has.

Perhaps I'm biased as I am a great admirer of Ingmar Bergman, but I found myself both fascinated and impressed by From the Life of the Marionettes. Excepting All These Women, the only film(of those I've seen, which is a little over two-thirds) that I didn't care for, Bergman's films have ranged to solid to outstanding. From the Life of the Marionettes is not one his very finest, but it is one of the films of his that is close to outstanding. Apart from the I agree underdeveloped homosexual subplot, there is very little of the film to criticise. The production values could be seen as stark, but still sublime and even haunting and shot beautifully. Bergman directs superbly with his usual control and discipline, while the speeches are thoughtful and the structure consisting of drama, documentary, character study, flashback and dream sequences is constantly attention-grabbing and I didn't find myself confused by it. The characters could be seen as cold, but purposefully and there is the trademark compelling realism of Bergman's films here. There aren't Sweden's finest ever actors on board, but the acting is still very good. All in all, very undervalued Bergman with lots of interest value. 9/10 Bethany Cox

This is totally engaging but its almost just theater: the long scenes, still camera, monologues, exposition of internal psycho-drama and chapters that structure the entire film.

But most of all its the interest and compassion contained in the human face and voice that Bergman makes central. That had been part of Bergman's work for a long time, just look at "Through a Glass Darkly". The characters are moving through space but not able to connect with each other at all, they simulate free will but they are not able to live it.

Having said all of the above the photography and set ups are occasionally sublime, the sort of thing that was the essence of cinema, but not so any more.

A complex dissection of a murder and a murderer, told by jumping back and forth in time, before and after the event, A deeply disturbing portrait of a man and a society so cut off from feeling that violence seems almost inevitable.

While more divided in public reaction then some of Bergman's most beloved works, I think this edgy, bold, uncomfortable film ranks close to some of his best work. While there are moments of pretension, there's also a lot of human and psychological complexity (and wonderful acting) in this bleak exploration of how near murder and madness lie to any of us.

Bergman was on top form writing this piece - there's lots to think about. What motivates a respectable man, whose mental state indicates only a small risk of self-harm, to undertake such a violent and frenzied crime? Do the ulterior motives and actions of those around him (wife, shrink, wife's business partner...)deliberately or unwittingly trigger the crime - or indeed are those sub-plots entirely incidental to the central event? These questions are not answered - they are raised and illuminated.

This is not Bergman's greatest piece of cinema - the mixture of documentary, drama and flashback can be a little disorienting - but the argument of the film drives on relentlessly and it is compulsive watching. Well worth seeing.