Un homme récemment divorcé fait la connaissance d'une veuve éplorée et ils commencent une histoire d'amour.Un homme récemment divorcé fait la connaissance d'une veuve éplorée et ils commencent une histoire d'amour.Un homme récemment divorcé fait la connaissance d'une veuve éplorée et ils commencent une histoire d'amour.
- Récompenses
- 3 victoires et 7 nominations au total
- Narrator
- (voix)
- (non crédité)
- Woman in Dream
- (non crédité)
- Police Officer
- (non crédité)
- Woman in Dream
- (non crédité)
- Woman in Dream
- (non crédité)
- Verner's Wife
- (non crédité)
- Woman in Dream
- (non crédité)
- Katarina
- (non crédité)
- Johan's Sister
- (non crédité)
- Police Officer
- (non crédité)
- Woman in Dream
- (non crédité)
Histoire
Le saviez-vous
- AnecdotesThis film, commonly known as "En passion" (or "The Passion" aka "The Passion of Anna"), has an actual on-screen title of "L 182".
- Citations
Anna Fromm: Andreas, we should travel somewhere. We should get away from here. I know it would be good for us both.
Andreas Winkelman: When you speak of traveling, I really want to say yes.
Anna Fromm: What are you thinking?
Andreas Winkelman: That we can speak to Elis. He can lend us money. But at the same time a wall appears. I can't speak. I can't show that I'm happy. I can see your face, I know you're you, but I can't reach you. Do you understand what I mean?
Anna Fromm: I understand what you mean. I understand very well, Andreas.
Andreas Winkelman: I'm on the outside of this wall. I put myself on the outside. I fled and now I'm so far away.
Anna Fromm: I understand, Andreas. I understand how strange it seems.
Andreas Winkelman: Yes, it's strange. I want to be warm, tender and alive. I want to break free. You understand, don't you?
Anna Fromm: It's like a dream. You want to move, you know what to do, but you can't. Legs are impossible and arms heavy as lead. You want to speak, but you can't.
Andreas Winkelman: I'm terrified of being humiliated. It's constant misery. I've accepted the humiliation and let them become part of me. Do you understand what I mean?
Anna Fromm: I understand what you mean. I understand you.
Andreas Winkelman: It's terrible not being fortunate. Everybody thinks they have the right to decide over you. Their benevolent contempt. A momentary desire to trample something living.
Anna Fromm: I understand, Andreas. You don't need...
Andreas Winkelman: I'm dead, Anna. No, no, I'm not dead. No, that's wrong. Too melodramatic. I'm not dead at all. But I live without self-respect. I know it sounds silly - pretentious - since almost all people are forced to live without self-worth. Humiliated to the core, stifled and spat upon. They just live. They know nothing more. They know no alternative. Even if they did, they would never reach for it. You understand? Can you be sick from humiliation? Is it a disease we're all infected by and we have to live with? We talk so much about freedom, Anna. Isn't freedom a terrible poison for the humiliated... or is the word "freedom" only a drug the humiliated use in order to endure. I can't live with this. I've given up. Sometimes it's almost unbearable. The days drag by. I feel like I'm choking on the food I swallow, the crap I get rid of, the words I say. The light - the daylight which comes every morning and yells at me to get up. Or the sleep which always brings dreams, chasing me back and forth. Or just the darkness rattling with ghosts and memories. Has it occurred to you, Anna, that the worse off people are, the less they complain? Eventually they're silent... even though they're living creatures with nerves, eyes and hands. Massive armies of both victims and executioners. The light which rises and sinks heavily. The cold approaches. Darkness. The heat. The smell. And everyone is silent. We can never leave this place. I don't believe in escape. It's too late. Everything's too late.
- Versions alternativesThe UK version is cut by 25 seconds to remove the sight of a dog hanging by its neck, in accordance with the Cinematograph Films (Animals) Act 1937.
- ConnexionsFeatured in Liv Ullmann scener fra et liv (1997)
- Bandes originalesAlways Romantic
Performed by Allan Gray
What I like most about this film, though, is its situational context: the island. I can't think of another Bergman film where the environment plays a bigger role than here. All figures are moving in a lost, iced vastness, in defoliated, sparse woods, get stuck in morass and dirt. Animals get brutally tortured and killed, wood gets chopped, wagons bog down in mud. The forlornness and menace of the people in nature is wonderfully captured by Nykvist, mostly in long, high-angle or panoramic shots and is an intriguing contrast to the interior (of the cottages, where the talking, cheating and fighting takes place) - inside there lurks the psychic, outside there's the physical death. That is a great imagery. However, I'm not satisfied with these interview snippets which I think is a nice idea (such as Bergman's verbal directions in the off in Vargtimmen), but it's executed quite poorly.
- spoilsbury_toast_girl
- 18 janv. 2010
- Permalien
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- How long is The Passion of Anna?Alimenté par Alexa
Détails
Box-office
- Montant brut mondial
- 1 814 $US