{"id":1915,"date":"2013-07-10T06:24:42","date_gmt":"2013-07-10T05:24:42","guid":{"rendered":"http:\/\/forestrowfilmsociety.org\/news\/?page_id=1915"},"modified":"2014-04-22T06:19:28","modified_gmt":"2014-04-22T05:19:28","slug":"fanny-and-alexander","status":"publish","type":"page","link":"https:\/\/forestrowfilmsociety.org\/news\/films\/fanny-and-alexander\/","title":{"rendered":"Fanny and Alexander"},"content":{"rendered":"

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\"27-fanny-and-alexander\"<\/a>
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Saturday, 22 February 2014: Fanny and Alexander<\/a><\/strong><\/p>\r\n

Saturday, 22 February 2014, 15:00<\/p>\r\n

Venue<\/strong>: (see Locations and Tickets<\/a> for further details)<\/p>\r\n

Programme category<\/strong>: Forest Row Film Society<\/p>\r\n\r
\nDirector: Ingmar Bergman, Sweden 1983, 300 mins, 15<\/p>\n

“‘A declaration of love for life.’ Fanny and Alexander<\/em>, Ingmar Bergman’s new film, is that and more. Bergman adds that it is ‘the sum total of my life as a filmmaker’ …. A charming, expansive, exhilarating film, it is a masterpiece. … Now Bergman has turned to his personal and professional past to provide a glorious, glowing celebration of human beings and of the sweet things in life….This is a film to revel in for its joy, its warmth, its breadth of mind, and its depth of feeling. Like Fellini’s Amarcord<\/em>, Bergman’s Fanny and Alexander<\/em> is not only the sum total of a career; it encompasses and refreshes our lives.” \u2013 Judith Crist, Saturday Review<\/em><\/p><\/blockquote>\n

A lovely child\u2019s eye view of the Ekdahl family, in early twentieth-century Sweden. Bergman’s self-styled farewell to cinema is the director\u2019s warmest and most autobiographical film. Winner of four Academy Awards, Fanny and Alexander<\/em> combines emotional intensity with immense joy and sensuality. A special screening with dinner.<\/p>\n

Tickets<\/strong> must be booked in advance: \u00a317\/\u00a315 (concs), and discounts for members. Includes dinner. Bookings have now closed.<\/strong><\/p>\n

“This is a virtuoso piece of film-making in which many of the director’s most persistent obsessions are drawn together. It’s at once a meditation on childhood, a celebration of theatrical life, a nostalgic evocation of turn-of-the-century Sweden, a portrait of a family, and a film about a boy (Alexander) coming to terms with the death of his father. Moments of high comedy (the uncle farting on the stairs) are interspersed with vicious, Strindberg-like rows between couples and scenes of grief. No character is one-dimensional.” \u2013 Geoff Milne, Sight and Sound<\/em><\/p><\/blockquote>\n

Further reading<\/h4>\n

Many of these reviews are of the shorter, theatrical version (which Bergman hated).<\/p>\n

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  1. Time Out New York<\/a><\/li>\n
  2. New York Times<\/a><\/li>\n
  3. The Village Voice<\/a><\/li>\n
  4. Slant<\/a><\/li>\n
  5. Essay: Fanny and Alexander<\/em>: Bergman\u2019s Bildungsroman<\/a><\/li>\n
  6. Interview with Bergman<\/a>, including a discussion of the relative merits of the long and short versions<\/li>\n
  7. Essay: Ingmar Bergman: Summing up a life in film<\/a><\/li>\n
  8. Bergman obituary: Telegraph<\/a><\/li>\n
  9. Bergman obituary: Guardian<\/a><\/li>\n
  10. Roger Ebert: Ingmar Bergman: In Memory<\/a><\/li>\n
  11. Senses of Cinema<\/a><\/li>\n
  12. Classic Art Films<\/a> [detailed synopsis]<\/li>\n<\/ol>\n

    Trailer<\/h4>\n