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Well into her seventh decade, Ingrid Bergman's beauty as an aging concert pianist, Charlotte, is striking, especially in contrast with her daughter played by Liv Ullman. Ullman's astonishingly attractive looks (which dominate such classics as "Persona" "The Passion of Anna" "Cries and Whispers" and "Scenes from a Marriage") are convincingly masked by the dowdy attire, owlish glasses and prissy manner which give great credibility to her depiction of a priest's wife, unloved by and resentful of her mother.
Unique among Ingmar Bergman's films, the principal relationship under examination is that of mother and daughter. The closest film in this respect is "Cries and Whispers" but there the presence and unflattering characterisation of the mother is principally designed to informs the tortured relationship between the sisters Agnes, Maria and Karin as we see the similarities between Maria and her mother. Although "Autumn Sonata" touches on many of Bergman's favourite themes, the mother and daughter angle gives a freshness to the film and makes the quality of the acting all the more treasurable.
"Autumn Sonata" tends to be forgotten in comparison with Bergman's other late period works, both those made in exile from Sweden and those made before such as "Cries and Whispers" and the trimphant home-coming "Fanny and Alexander" both of which richly deserved Oscars.
Although "Autumn Sonata" is not as technically adventurous or as stunning visually as others, Ingrid Bergman deserved more than the Oscar nomination she received and the awards bestowed upon the film as a whole were richly deserved. Furthermore, the use of the Chopin prelude, in revealing Charlotte's personality is perhaps the most successful use of music in Bergman's directing history.
The extras are spare as one has come to expect from Tartan. Best is the original trailer which manages to capture the film's essence without being sensationalist or sentimental.
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