From the Life of the Marionettes

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Petros T The cinematography is really captivating, the back-and-forth, almost episodic structure gives the story a freshness and variety that elevates it, the acting is convincing, and the dialogues have some powerful moments. Ingmar Bergman knows how to convey a lot even through relatively small moments, and that's where "Aus dem Leben der Marionetten" excels the most. Moreover, the psychological themes of the script are intriguing even if they're occasionally tackled in a slightly heavy-handed manner. Rated 3.5/5 Stars •  Rated 3.5 out of 5 stars 08/23/23 Full Review Dominique W A perfectly fine psychodrama that pales in comparison to Bergman's other work. Bergman's most accessible film is also his most crude and shallow. Rated 3/5 Stars •  Rated 3 out of 5 stars 01/09/23 Full Review Audience Member Not unlike Hitchcockâ(TM)s Frenzy (1972), Bergman reconstructs a horrible sex murder and explores the events immediately before and after the âdisasterâ? (which is shown in shocking and vivid colour at the filmâ(TM)s start, while the rest is in clinical black and white, shot stunningly by Sven Nykvist). Of course, the result is very unlike Hitchcock (where the wrong man, our ambiguous hero, is suspected) â" although there is a chance that Bergman expects that some viewers could feel some identification with murderer Peter Egermann (Robert Atzorn) who feels increasingly antagonistic toward his wife of ten years, Katarina (Christine Buchegger) and confesses that he fantasizes about killing her to his psychiatrist (Martin Benrath). We see Katarina and Peterâ(TM)s life before the event, as he becomes increasingly despondent and even threatens suicide and she pulls away from him asserting her independence (while both are drinking a lot â" indeed the names of these characters are the same as the bitter alcoholic couple who are friends with Johan and Marianne in Scenes from a Marriage, 1973). Peterâ(TM)s mother and Katarinaâ(TM)s gay co-worker also provide their views, both in flashback and as statements to the police after the murder. The highpoint of the film is probably the co-worker Timâ(TM)s exploration (in a monologue, in front of a mirror) of matters of identity, both as a gay man and as an aging adult who still feels his younger self (even as a child) inside. One senses Bergman reflecting on his own mortality (he was 62) and the effects of time on a person as well as relationships. But, for all the dark self-analysis here, it is hard to grasp why Peter did it â" some final Freudian suggestion about latent homosexuality does not cut it. Instead, it may be better to see the film as another portrayal of the patriarchal environment that women are trapped in, suffering at the hands of men (again and again), particularly when they dare to assert themselves. Indeed, all three of the filmâ(TM)s female characters have been subjected to unfair control and domination by men; the title of the film itself implies that women are therefore the âmarionettesâ?. However, Bergman doesnâ(TM)t provide any solution to the problem, leaving it up to viewers to ponder whether he thinks that men too are marionettes who struggle and despair but cannot break free of the grip of patriarchy. Say it isnâ(TM)t so. Rated 3.5/5 Stars •  Rated 3.5 out of 5 stars 02/04/23 Full Review Audience Member Interesting, but not great, Ingmar Bergman drama. Rated 3.5/5 Stars •  Rated 3.5 out of 5 stars 02/27/23 Full Review s r The complexities of marriage/relationships and how wrong they can get. Well made film, just not uplifting. Rated 3.5/5 Stars •  Rated 3.5 out of 5 stars 03/31/23 Full Review Audience Member OK late career Berman Spoiler Alert!!! still haven't figured out why this starts in colour then switches to black & white Rated 2.5/5 Stars •  Rated 2.5 out of 5 stars 01/21/23 Full Review Read all reviews

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