Winter Light (1963)

Directed by Ingmar Bergman
Written by Ingmar Bergman

Ingrid Thulin..............Märta Lundberg, Schoolteacher
Gunnar Björnstrand.........Tomas Ericsson, Pastor
Gunnel Lindblom............Karin Persson
Max von Sydow..............Jonas Persson

Runtime: 1 hr. 21 min.
Rating: UR

I haven't yet "gotten" Ingmar Bergman. You probably think me a contrarian. After all, I haven't written all that many movie posts recently and both begin by dissing esteemed directors. But, heck, it's true. The only comment I've really responded to in regards to Bergman was on a commentary for Fanny and Alexander when the speaker said that Bergman was known in his native Sweden more for his stage direction than his films which were considered overwrought. My own private "a-ha!" moment occurred. I wasn't alone.

However, I'm not giving up. Even if I don't go ga-ga over someone as much as the majority does (Scorsese), I at least want to be able to appreciate what it is that they do. In other words, I would never say of Bergman that I don't like him. I will say, as above, I don't get him.

I felt the door open a crack, however, after watching Winter Light. I'm already being honest so why stop now: Bergman films often seem to me to be about people crying about things I don't understand. There's always so much emoting going on, and I can often tell you what they're worked up about, but I can't always tell you why. It's this disconnect that I'm trying to bridge, though I guess I sometimes have this reaction in life, so maybe I shouldn't be so surprised. This is perhaps the reason I understood this film a bit better as it follows a man who is working through this same disconnect.

The man in question is Pastor Tomas Ericsson. We meet him as he leads a service in a small church that is still a bit large for the congregation. We watch the entire communion and begin to sense the relationship between all those in attendance. One of these is Marta (Ingrid Thulin), a schoolteacher whom we discover later is Tomas's lover.

Their relationship is fascinating. Bergman's films are about relationships. Between people. Between God and man. But they seem to exist on a plain that I've never experienced. But here was a true relationship. A woman so in love with a man and a man who cannot accept this love. Who denies it time and time again. We learn of her love in a letter that is addressed directly to the camera. There are no cuts, just a single, unflinching direct presentation. There is nothing but her face and her words to occupy us, much as Tomas must feel.

In a later scene, she once more confesses her love once more, this time in person. It's not a letter this time; she must be considered. We watch as he grows colder and more distant. He feels cornered and he decides to answer honestly. The words that he utters are devastating. Yet she simply sits there and we watch her heart break and his grow harder.

Jumbled in the midst of this is Tomas's crisis of faith. Early in the film, a man comes to him searching for meaning in a world that he feels is going to destroy itself and Tomas is able to offer no comfort. He begins talking about himself, stops himself, apologizes and begins again. Perhaps another reason I probably responded to the film, the implication seeming to be that crises of faith have very little to do with our relationship to God. They more often stem from a concern about our relationship with others.

I feel like I haven't done this film any justice. I mean, the performances are all very good. Gunnar Björnstrand as Tomas is never better than when he shuts down. Ingrid Thulin as Marta conveys so much in being so still. Max von Sydow has a brief role as the man seeking comfort from the pastor and it's interesting to see an actor who has come to be known for his regal air and power inhabit a character who is so full of fear. The camera work by frequent collaborator Sven Nykvist is simple and stark. A shot of Ingrid in silhouette, light from behind just gracing her nose is stunning.

Have I conveyed whether you should see it or not? You should. Perhaps the problem is again one of disconnect. Sitting here, I went through all the major plot points in the film feeling as if I was missing something. Nope, it's pretty simple. Yet I feel as if I've covered nothing. Perhaps that's what I'm trying to get at. It always feels like there's always more than I feel I'm getting, as if Bergman decided to film a novel and did. Every last word of it.