Scenes from a Marriage

Ingmar Bergman's 1974 chamber-drama masterpiece was originally made as a six part mini-series for Swedish television--hence the divided tableau and emphasis on close-ups. Of course Bergman is the greatest purveyor of the close-up, and here he uses it to accentuate the psychological torment and strain that a marriage propagates on its victims (after this movie you'll view marriage as a war, if you already don't). Josephson and Ulmann shine as the dissenting couple, who first put up facades to deny the inevitable, eventually divorce, dive to relationship hell, and ultimately find a happy medium with a burgeoning love that could have never flourished if they stayed married. Interestingly, Bergman chooses to never show the couple's children (that would simply add another tumult to an already tumultuous puzzle). And, if it needs to be said, Sven Nykvist's photography is strikingly beautiful. "Scenes from a Marriage" suffers slightly from too much dialogue and being a bit lengthy--the poignancy is nullified after 170 minutes of relationship vicissitudes--but deserves to be cherished by any fan of "good" cinema or of Ingmar Bergman.

I know this series has been around for ages and has been fully critiqued by all and sundry in the movie industry and entertainment world. The frank discussion it generates on the subject of marriage and its many potential stress points may cause one to take a second look at the health of their own marital relationship. We see a seemingly successful couple - Johan and Mariane - engaging in a series of informal dialogues over the space of a number of months. Though the conversations start off rather innocently and casually over the marital discord building up in their friends' lives, it won't be long before the discussion turns to looking at theirs. What they slowly discover is that they have both been forced into marriage because of some unrealistic social expectations. Any sense of passionate attachment has become lost in the maze of domestic concerns that relate to careers, raising children, and socializing. During their marriage, neither Johan or Mariane really know each other. Sadly, that will become even more apparent as they painfully face the prospects of working through the tedious legal processes of separation and divorce, ironically, a subject that Mariane is well trained in as a family lawyer. Obviously, this couple, typical of middle-age people who grow tired of each other, have gradually come to the realization that they cannot articulate their true feelings to each other in a way that generates love and respect. This film strives to tear away the veneer of self-assurance that we often wrap ourselves in when we want to pretend that all is okay with ourselves and our partner. A relationship that does not share and deal with complex emotional needs on a continual basis is one that will invariably crumble in key areas like personal adequacy and sense of commitment. In the later scenes, as the couple toy with the idea of signing the divorce papers, the tension reaches a pitched frenzy as they frantically search for ways to save the relationship. Great dramatization but watching it comes at potentially some risk to your marriage if you're not careful.

This contains both the original 6 part TV mini series, and the almost 100 minute shorter theatrical version.

In either guise, this is an amazing exploration of the decline and fall of a marriage, and the change, regressions and
growth of the two people in it. While a few other characters appear briefly, this is almost entirely a 2 actor piece, taking
place in small rooms, shot mostly in close ups. Brutally honest about its characters' considerable shortcomings, it also
extends to them a generosity and grace.

The two central performances by Liv Ullman and Erland Josephson are uncompromising and uncompromised, completely
honest and truthful, as if we were eavesdropping on a real couple. Astonishing work by both.

It's also an interesting portrait of a social moment - the early 70s - when women were finding their voice as equal partners
in marriage and society through the women's liberation movement. The piece feels dated, but only in an interesting way as
a look back, and yet seems to have paradoxically lost none of it's relevance. Styles and social customs may evolve, different
countries may deal with sex or affairs with somewhat different attitudes, but the desperately complex mix of needs, wants,
hurts, resentments and true love that make up a marriage seem to transcend time and place.

A very few moments feels forced or untrue, and another very few feel extraneous, but this is a remarkable film.

It also ushers in a new phase in Bergman's career, as the ever evolving artist moves into a kind of simple, naturalistic reality
that marked much of the work from this point on in his career. Gone are the heavy (if often tremendously effective) symbols
and surrealistic touches. This is life; raw, painful, rich and uncompromised.

I'm in the minority in that, for me the shortened feature version doesn't lose much in comparison to the 100 minute longer
TV mini-series it was edited from. While some interesting details that helped flesh out the story were gone, there is also a
laser like focus and heightened intensity that's been gained. For me it's a toss up. They're both great, landmark pieces of
film-making and acting, with slightly different strengths and weaknesses, but similar total effect.