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Jorgen Lindstrom plays Jonas, a small boy travelling with his mother Anna (Gunnel Lindblom) and aunt Ester (Ingrid Thulin). His aunt is dying of consumption, but his mother is a great deal more alive and smouldering with sexual energy. As the tension between the bedridden aunt and the frustrated mother mounts, Jonas roams the hotel corridors and chances almost surreally upon the hotels only other occupants--an elderly floor waiter and a troupe of performing dwarves. Meanwhile, his mother is picked up by a waiter in a cafe, is seduced by him in a church then engages in a traumatically miserable bout of hotel sex.
Sultry, full of incident and dreamlike cinematic spectacle (the performing dwarves, a rumbling tank, an overheated railway carriage) there's a sense of aimlessness and oblivion about The Silence, in which the godlessness of the universe, though never discussed, is implied throughout the movie. There is, however, a note of humanist hope struck in the conclusion, more convincing than the platitudinous finale of Through a Glass Darkly.
On the DVD: Bergman's notes explain how he had long nurtured the notion of setting a movie in an imaginary city where "the rules of society cease to exist", and how the young boy's curious wanderings were inspired by his first exposure to Stockholm as a child. Critic Philip Strick's notes reveal that Greta Garbo had at one point been mooted to make a return to the screen in this film and that in certain countries, censors insisted on separate screenings of The Silence for males and females. --David Stubbs
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Two sisters spend time in a seedy hotel in an unspecified central European city while an unspecified military event takes place around them. Tempers fray as the frictions between the sisters come to the surface. One sister is sick and apparently a lesbian, the other is a single mother although sexually promiscuous.
Between them is her son, who goes on explorations around the hotel, encountering faintly bizarre characters.
The film is outrageously sensual and sexual, worryingly enough between the boy and his mother as much as anyone else, and also claustraphobic and sickening, as the ill sister's ailment takes hold. A foreigness takes hold of the centre of the film, with the sisters unable to communicate with each other and unable to speak the native tongue, thus adding to the claustraphobia.
First, eminent critic Bosley Crowther (excerpt): The grapplings of Ingmar Bergman with loneliness, lust, and loss of faith, so... Read more
I've had to many of Bergman's films: deep admiration, but not personal
adoration. Read more
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