Trolösa (2000) is a Swedish,French movie. Liv Ullmann has directed this movie. Lena Endre,Erland Josephson,Krister Henriksson,Thomas Hanzon are the starring of this movie. It was released in 2000. Trolösa (2000) is considered one of the best Drama,Romance movie in India and around the world.
Marianne is a theatre actress married to an orchestra conductor, Markus. She becomes involved in an affair with their director friend, David, which leads to a painful divorce and battle for custody of their daughter, Isabelle. Although all of them are merely fictional characters created by Bergman, their experiences become very real and traumatic for him.
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Ensconced in the study of his house on a secluded island off the coast of Sweden, an aging director reminisces and reflects on aspects of his life apparently still in need of resolution, in `Faithless,' written by Ingmar Bergman and directed by Liv Ullmann. Bergman is the name of the director, played by Erland Josephson, who engages in a fantasy conversation with a woman named Marianne (Lena Endre), who confesses to him her affair, after eleven years of marriage, with a man named David (Krister Henriksson), the best friend of her husband, Markus (Thomas Hanzon). Through their conversations, as well as scenes depicting particular episodes from her life-- beginning with the initial encounter with David-- we learn the intimate details of Marianne's life, as well as Markus' and their young daughter's, Isabelle (Michelle Gylemo) and, of course, David's. It's an intense, engrossing character study that examines the weaknesses and foibles of human nature to which we are all susceptible. It's a story that is, by turns, grim and thoughtful, at times poignant, while at other moments distressing, as it reflects the myriad emotional levels to which the human condition is prone at any given time. As the story progresses, it becomes impossible to distance yourself from the characters involved in the drama, for there is so much about them with which anyone in the audience will be readily able to identify; not necessarily with the infidelities, but grounded in the choices we all must make throughout our lives and the consequences thereof, and upon which a film like this precipitates rumination. As with all of the films Bergman has written and/or directed during his career, it is a pensive, thought-provoking incursion into reality. As she proved with her directorial debut of the 1997 film `Private Confessions,' also scripted by Bergman, Liv Ullmann is more than up to the formidable task of bringing Bergman's story to the screen. Her style of directing is similar to Bergman's, as could be expected-- their close working and personal relationship has spanned more than thirty years-- but her approach is perhaps a bit softer than his, and uniquely her own. In the final analysis, any similarities are primarily due to the story, which lends itself to the style Bergman perfected and upon which Ullmann certainly draws. It's not so much a matter of imitation as it is of following an intrinsic pattern conducive to the storytelling, and Ullmann has an innate sensitivity to the material that translates into the presentation of the drama and elicits the necessary sympathy and compassion from the audience that enhances the impact of it. Like Bergman, she uses the camera to help capture the sense of the drama visually, which at times creates an almost ethereal, poetic atmosphere that contrasts so well with the more stoic aspects of the story. Ullmann has an excellent sense of rhythm, and the pace of the film allows the viewer time to assimilate the many nuances of emotion expressed through the characters. Lena Endre gives a remarkable performance as Marianne, infusing a passion into the character that makes it ring so true to life, and it's one of the strengths of the film. She bares Marianne's soul, leaving no question as to the inner turmoil with which she must cope, and it reflects in Bergman's character as well; through her struggles we also feel the remorse of Bergman's character, and upon reflection it makes you realize how effective Josephson is in the role of Bergman. For it is in his subtle reactions to the phantom Marianne, and in his silent ruminations, that we learn so much about all that has transpired in their lives. Henriksson gives a notable performance as well, deftly exposing the complexities of the character that lie beneath the somewhat reserved exterior of the man, while Hanzon is effective as Markus, as is Gylemo as the young Isabelle. With `Faithless,' Ullmann firmly establishes her mark as an artist of extraordinary vision and sense of reality. Her collaboration with Ingmar Bergman is a cinematic triumph, and we can only hope that there will be more to follow, for with every film they make, another chapter is written in the Book of Life. I rate this one 10/10.
Last night, I watched "Faithless," and I've thought about it almost constantly since. A magnificent, heart-rending film. Surely this is Bergman's finest script. It's absolutely uncompromising in its unsentimental, clinical, story-telling, and filled with that compassion devoid of hope that is Bergman's trademark, and his own world view. Hopelessness as the key to dignified human life, day by day, would seem to be an apt description of Bergman's philosophy. I won't give away the dénouement of the story, in case you are fortunate enough not to have seen it yet, and to be able to see it. Let me just say that I was completely surprised by the plot twist near the end--it caught me entirely off-guard, and later I felt that I should have seen it coming, but I didn't. That's the mark of a master writer, to be able to take the reader (or viewer) unaware. Ingmar Bergman could have had a career as a mystery/suspense writer if he'd wanted to. (I'm glad he didn't.) The story of "Faithless" is that of a marriage plunged into chaos by the aftermath of one chance phrase, uttered by a close friend of the married couple to the wife after a late-night supper. With a dazzling propensity for making wrong choices, which, if we're honest, we'll all recognize existing in our own lives, the protagonists rush headlong into a hell of their own making. At the center of the story, like a small, still, silent observer, resides Isabelle, the nine-year-old daughter. The effect of the grown-ups' actions on this poor child renders the story all the more poignant and horrifying. But what I've sketched here (omitting the surprise towards the last) is only half the story. And in a sense it's not even the real story. For Marianne and Markus (the married couple), David (the mutual friend), Isabelle, and the other main characters don't, in a sense, even exist. The film opens in the study of an elderly film director (played by Erland Josephson, close friend and colleague of Bergman, and the actor who played Joseph, the husband, in "Scenes from a Marriage"--where his character's wife's name, Marianne, matches that of the character played in this film by Lena Endre, in an unforgettable tour-de-force amounting to a two-and-a-half-hour monologue; Marianne, in the earlier film, reminiscent of this one in many ways, was played with similar bravado by this film's director, Liv Ullman, long-time associate of Bergman and for some years his lover). The setting might well be Bergman's own study in his house on the remote Swedish island where he's lived in isolation for the past several years. The desk is slightly more cluttered than Bergman's own (which is adorned only with a clock and a photograph of his wife, with whom, he admits, he still has conversations, years after her death, which devastated him and helped drive him into "exile"). The room is almost bare otherwise, immaculately kept, furnished with a stereo, an armchair, a couple of lamps, a few photographs on the wall. The exterior scenes were undoubtedly shot on location on the actual island. The "director" is seated at his desk, talking aloud to an empty room, but addressing "Marianne." First as a shadow behind him, then fully visible seated on a window-seat, Marianne appears at his bidding. The movie goes on from there--sessions of talk in the director's study, the director mainly asking pointed questions, Marianne, and later David, sometimes hesitant or afraid to answer, but gradually revealing the painful facts of their excruciating misconduct. Significantly, at a crucial point the director comforts each of these "imaginary" (but in the film very real) creatures by a caress to the cheek-as if wiping away a child's tears. At the end of the turbulent story, he's left alone with his manuscript--and the dark, rolling sea. He walks slowly, awkwardly along the pebbly beach, lost in thought, just as Bergman does every day. I believe that, thanks to the incalculable combined talent of Bergman and Ullman, this film offers the viewer catharsis, as in the Greek tragedies. I certainly have felt very different in the hours since viewing it. If "religious" leaders had the courage and honesty to offer their faithful the same hopeless but compassionate view of life as this film, and Bergman's own outlook, afford, then I think the world would be a much better place. Ironically, Bergman's point of view is largely the result of a childhood spent under the heavy hand of Protestantism. (His father was a stern pastor.) But the result has been Protestantism with a twist: in a godless world, we doom ourselves to shame and horror, yet we can, somehow, still find the dignity to go on living one day at a time, doing the best we can with our pathetic lives. And that's the best we can do. There is no redemption, not even in art: but there may be some clarification, if we're lucky. In the end, all we had was ourselves and one another. And we did what we thought we had to do.
An old alienated writer, in an empty house, on a barren seashore, is kept company by characters of his own making. A profound and poignant statement. This is one of the last scripts Bergman ever wrote. Heartrending. In the end, these fantasms finish telling him their tale and they leave him. When it's over, he is utterly alone. But, at the end, the camera drifts over and reveals the pages of his now finished book. One is left with the impression that though this is a bleak life, it is not one without meaning or value. Beautiful performances.
One of the best films I've seen. Liv Ullman does an excellent job directing Bergmans masterpiece of a manuscript. Hollywood has a lot to learn, with their cheesy garbage scripts, Hollywood and this movie represent two different solar systems. Stunning imagery, great acting, great direction and off course a manuscript that gives you sleepless nights. The actors are very well chosen, the use of light is intelligent and so is the tempo and rhythm of this film. The viewer is taken to a journey in humanities inner thoughts failures. Suicide and death is relevant as ever to the late Bergman who with his skills takes us through layers and (inner) layers of personalities and feelings these characters have. Feelings of love, betrayal, relationship and co-existence. Each of the characters are dynamic, complex and multi- dimensional and this is again enhanced through the great acting of the actors. Bravo Bergman and Ullman
Not to be an elitist, but no one I know is more familiar with the work and life of Ingmar Bergman than yours truly, so when his latest and long-awaited film, Faithless, was recently released, I was immediately eager to see it. And staying true to his promise never to direct another film after Fanny and Alexander, he couldn't have picked a better director for his script than his protege and long-time colleague Liv Ullman. So, what we end up with in Faithless, is a true-to-form Bergmanesque tale that runs a bit too long and has one too many tragedies. For the most part, the film is pretty much saved by excellent performances, especially the portrayal of Marianne by Lena Endre. The plot is a tangled web of infidelity and its consequences, punctuated with as much heartbreak, pain and suffering as any Bergman opus, and certainly as much as the average viewer can imagine or tolerate. To be sure, Bergman isn't for everyone. But if you enjoy an occasional catharsis, immobilizing intensity and walking out of the theater thinking your life isn't as bad as you thought it was, this film's for you. For those of you familiar with and amenable to Bergman trademarks, you won't be disappointed. There are plenty of long facial close-ups, monologues, ghosts as figurative demons, and a character that represents Bergman himself. This last feature is one of the machinations I feel we could have done without. It adds a character who is not really part of the plot and does little more than listen. There's also a heaviness to the plot that kind of hits you over the head. Major drama is all right with me, and Bergman is one of the best in that genre, but it was dangerously close to the saturation point of redundance and pretension. Nevertheless, for all you Bergman fans, foreign film lovers and wanna-be celluloid asthetes, you really should add this title to your repetoire. Bergman is truly one of the greatest filmmakers of all time, and considering his very advanced age, this could be his last outing. Then again...