Persona

Audience Reviews

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Anakin L Apr 15, 2019 Call me a heathen. I know it is considered one of the greatest films of all time, but it did not touch me/move me. Sure, there are some (many) icon moments, but it still did not do anything for me. See more

Hermione S Jan 12, 2019 Persona is Ingmar Bergman's masterpiece. Persona (1966) is a psychological drama masquerading as a double character study. It is deeply emotional and features some cinema's most haunting imagery. Ingmar Bergman uses the lookalike actresses to mesmerize his audience with parallel images, quick cuts to unnerving visuals, and even dissolving film reels to upend all your preconceived notions of how a film should play out. Bergman's direction is immaculate and thought provoking starting with a fearsome montage and diving straight into the uneasy feelings of an actress who never wants to speak again. Bergman goes out of his way to make Liv Ullman and Bibi Andersson look eerily alike. From their stances, hair, outfits, movements, and speak, Bergman uses the camera to create a false mirror of his actress with stunning effect. Persona is as much a wild cinematic experiment in form, structure, and narrative as it is a harrowing drama between to similar ladies. Persona is in a class all its own. It takes Bergman's script that ruminates and relates to the fears and insecurities of modern women and their sensitivities. Anything from love, marriage, childbirth, infidelity, abortion, to threesomes is fair game to Persona. I think Bergman's writing is commendable for genuinely trying to empathize with how a woman feels. Persona is so human and fragile, yet fiercely striking at the same time. As the title implies, Persona gives us a new face to view as it reveals the front we put on to appear normal in society. Bergman takes all the facade away and leaves us with the raw emotions of two unhappy women that desperately crave something more. I found Persona even more poignant and lonely that when I first was awestruck by the experience of watching Persona. Bergman uses the suspenseful sequencing to build up tension exponentially so that the viewer never knows what will happen next in Persona. It's incredible that Persona only runs for 83 minutes and manages to tell a full story with two highly complex characters that feel completely fleshed out in such a short time span. Furthermore, Lars Johan Werle's shocking and atmospheric score keeps you on edge while gazing upon Persona. The sudden sounds blare up out of nowhere always getting a surprised expression from me. Persona uses dissonant sound design as beautifully as Ulla Ryghe's unorthodox edits. Similarly, I have to admire and appreciate the cinematography of Persona. Bergman's eye for unique shots and perspectives in Persona cannot be overstated. Sven Nykvist's cinematography on the beach sequence with Liv Ullman chasing down Bibi Andersson with an extended long panning shot is so beautiful and captivating. You never want to look away from Persona as intriguing shot after shot occurs. The melding of both actresses in the mirror image is honestly the greatest visual metaphor in film history. I also have to mention Bergman repeating Ullman's final monologue first from Bibi's reaction to Liv's speech. The over the shoulder perspective is particularly clever and revealing for the characters. Finally, I will state that Persona features perhaps the greatest lead and supporting actress performances in cinematic memory. Liv Ullman is adorable and endearing as the well meaning nurse Alma. Her tender affection for Bibi Andersson's famous actress Elisabet Vogler is palpable due to Ullman's strong acting. Ullman brings a hypnotic allure to Persona as she pours her heart out scene after scene with captivating results. Her massive monologue admitting to a threesome is mesmerizing for its dreamlike quality and horrifying for how emotionally damaging it feels. Ullman delivers the finest performance of her career and the shining standard of Swedish acting in Persona. Likewise, Bibi Andersson's silent role in Persona is as entrancing as she keeps you staring at her eyes and mouth for the entirety of Persona. She never really have to say anything to convey a lifetime of unhappiness and depression. Andersson's roles are normally quite talkative, so Persona is a unique chance for her to demonstrate how to act with a subtle knowing with mostly her facial cues and expressions. You just need to sit back and get lost in Andersson's eyes while viewing Persona. She will tell you all you need to know. In conclusion, Persona is simply the best Swedish cinema has to offer. It remains one of my favorite films of all time, my favorite Ingmar Bergman film, and one of the most important and influential films ever directed. Persona has to be seen and experienced at least once before you die. Behold Bergman's mastery of the camera lens and the written word. Persona is magnificent! See more

Kylo S Jan 8, 2019 a wonderful puzzle of a film which grips you with many emotions from start to finish.

Harry R Dec 24, 2018 Possibly the best Ingmar's Bergman movie, and definitely one of the greatest psychological films of all time.

Kylo W Nov 27, 2018 3/5 Decades after avant garde painting abandoned traditional representation, Bergman did the same thing with movies. He decided that a film could exist without conventional elements of plot and setting. And he could throw in an ambiguous pre-credit sequence with several grotesque images and irritating drip noises, and invite everyone to attempt to interpret it all. Elizabeth and Alma, mute actress and her nurse, a strong silent personality and a weaker one who is provoked into never ending introspection by her patient. Bergman does all kinds of photographic tricks to combine them into one person, hence the singular nature of the film's title. He has one stand in front of the other, with the head of one superimposed on the other's body. He shows one so out of focus that you're not sure which is there, except for the darker hair. He actually merges their faces. The beautifully stark and high contrast black and white photography was essential, so that the two of them could superficially look similarly dressed - assonance, more than rhyme. Color would have gotten in the way. Elizabeth is disturbed by a burning Buddhist monk in Vietnam, and a photograph from the Warsaw ghetto. I found that pretty superficial. What I found extraordinary were the creative uses of light. Alma opens a window for Elizabeth, so she can witness dusk. The light fades with her eyes open, and there's just enough reflection in her pupils so that two pinholes of white remain after everything else has gone dark. There are a lot of moments like that, which save this film. I don't know if there was some kind of transference, or if this is a reverse Sybil film - one personality depicted by multiple actresses. It doesn't matter. The interpretation exercise is just as important as the film. My biggest quibble? Alma's monologues were vapid and annoying. They invite ridicule. They reminded me of summaries that detectives give at the end of murder mysteries, interpreting the killer's motivations. I also hate emotionally distraught people (read: teenagers) who refuse to speak when you've begged them to. See more

Rey P Sep 6, 2018 Puntaje Original: 7.0 Un film de autodescubrimiento, introspectivo y escencial.

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Persona

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