fbpx
Wikipedia

Fanny and Alexander

January 01, 1970

Fanny and Alexander (Swedish: Fanny och Alexander) is a 1982 period drama film written and directed by Ingmar Bergman. The plot focuses on two siblings and their large family in Uppsala,[a] Sweden during the first decade of the twentieth century. Following the death of the children's father (Allan Edwall), their mother (Ewa Fröling) remarries a prominent bishop (Jan Malmsjö) who becomes abusive towards Alexander for his vivid imagination.

Fanny and Alexander
Original Swedish release poster
Directed byIngmar Bergman
Written byIngmar Bergman
Produced byJörn Donner
Starring
CinematographySven Nykvist
Edited bySylvia Ingemarsson
Music byDaniel Bell
Production
companies
Distributed by
Release dates
  • 17 December 1982 (1982-12-17) (Sweden[1])
  • 9 March 1983 (1983-03-09) (France[5])
  • 8 October 1983 (1983-10-08) (West Germany[6])
Running time
  • TV miniseries:
    312 minutes
  • Theatrical film:
    188 minutes[7]
Countries
  • Sweden
  • France
  • West Germany[8]
Languages
  • Swedish
  • German
BudgetUS$6 million[9]
Box officeUS$6.7 million[8]

Bergman intended Fanny and Alexander to be his final picture before retiring, and his script is semi-autobiographical. The characters Alexander, Fanny and stepfather Edvard are based on himself, his sister Margareta and his father Erik Bergman, respectively. Many of the scenes were filmed on location in Uppsala. The documentary film The Making of Fanny and Alexander was made simultaneously with the feature and chronicles its production.

The production was originally conceived as a television miniseries and cut in that version, spanning 312 minutes; a 188-minute cut version was created later for cinematic release, although this version was in fact the one to be released first. The television version has since been released as a complete film, and both versions have been shown in theaters throughout the world. The 312-minute cut is one of the longest cinematic films in history.

The theatrical version was released to universal critical acclaim. It won four Academy Awards, including for Best Foreign Language Film; three Guldbagge Awards, including Best Film; and other honours. Fanny and Alexander was followed by stage adaptations and further semi-autobiographical screenplays by Bergman, released as films in 1992: The Best Intentions, directed by Bille August, and Sunday's Children, directed by Daniel Bergman. On both reviews' websites Rotten Tomatoes and Metacritic it is the highest-reviewed movie of the 80s, and since then it has been regarded as one of Bergman's finest works, the best movie of the 1982, of the 1980s, of the 20th century, of all time as well, one of the greatest Swedish films ever made.

Plot edit

In 1907, young Alexander, his sister Fanny, and their well-to-do family, the Ekdahls, live in a Swedish town, running a moderately profitable theatre. At Christmastime, the Ekdahls hold a Nativity play and later a large Christmas party. The siblings' parents, Emilie and Oscar, are happily married until Oscar suddenly dies from a stroke. Shortly thereafter, Emilie marries Edvard Vergérus, the local bishop and a widower, and moves into his home where he lives with his mother, sister, aunt, and maids.

Emilie initially expects that she will be able to carry over the free, joyful qualities of her previous home into the marriage, but realises that Edvard's harsh authoritarian policies are unshakable. The relationship between the bishop and Alexander is especially cold, as Alexander invents stories, for which Edvard punishes him severely. As a result, Emilie asks for a divorce, which Edvard will not consent to; though she may leave the marriage, this would be legally considered desertion, placing the children in his custody. Meanwhile, the rest of the Ekdahl family has begun to worry about their condition, and Emilie secretly visits her former mother-in-law, Helena, revealing she is pregnant.

During Emilie's absence, Edvard confines the children to their bedroom, ostensibly for their safety. There, Alexander shares a story, claiming he was visited by the ghosts of the Vergérus family, who revealed the bishop was responsible for their deaths. The maid Justina reports the story to Edvard, who responds with corporal punishment. After Emilie returns, the Ekdahl family friend Isak Jacobi helps smuggle the children from the house. They live temporarily with Isak and his nephews in their store.

Emilie's former brothers-in-law confront Edvard to negotiate a divorce, using the children, the bishop's debts, and the threat of a public scandal for leverage, but Edvard is unmoved.

Emilie, now in the later stages of her pregnancy, refuses to restore the children to Edvard's home. Emilie allows Edvard to drink a large dosage of her bromide sedative. She explains to him, as the medication takes effect, that she intends to flee the home as he sleeps. He threatens to follow her family and ruin their lives, but falls unconscious. After she escapes, Edvard's dying Aunt Elsa accidentally overturns a gas lamp, setting her bedclothes, nightgown, and hair on fire. Engulfed in flames, she runs through the house, seeking Edvard's help, but he, too, is set aflame. Although partially incapacitated by the sedative, he is able to disentangle himself from Aunt Elsa, but is badly burned and dies shortly thereafter.

Alexander had fantasised about his stepfather's death while living with Isak and his nephews Aron and Ismael Retzinsky. The mysterious Ismael explains that fantasy can become true as he dreams it.

The Ekdahl family reunites for the christening celebration of Emilie's and the late bishop's daughter as well as the extra-marital daughter of Alexander's uncle, Gustav Adolf, and the family maid, Maj. Alexander encounters the ghost of the bishop who knocks him to the floor, and tells him that he will never be free. Emilie, having inherited the theatre, hands Helena a copy of August Strindberg's play A Dream Play to read and tells her that they should perform it together onstage. Initially scoffing at the idea and declaring Strindberg a "misogynist," Helena takes to the idea and begins reading it to a sleeping Alexander.

Cast edit

 
 
Allan Edwall and Ewa Fröling star as parents Oscar and Emilie Ekdahl.

The cast consists of:[7]

The Ekdahl house

The Bishop's house

Jacobi's house

The Theatre

Production edit

Development edit

 
Bergman's screenplay

Director Ingmar Bergman conceived of Fanny and Alexander while working on his 1980 film From the Life of the Marionettes, and wrote the screenplay at Fårö in summer 1979.[15] Bergman intended Fanny and Alexander to be his last feature film,[16] but he wrote several screenplays afterwards and directed for television. He told the press he decided to retire, because, "I don't have the strength any more, neither psychologically nor physically".[17] The screenplay was semi-autobiographical, attempting to portray Bergman's fondest memories in what he called a "happy and privileged" childhood; Alexander himself was meant as a representation of the young Ingmar.[18] His recollections of his grandmother's home were a particular inspiration.[19] He commented on his boyhood:

It was difficult to differentiate between what was fantasy and what was considered real. If I made an effort, I was perhaps able to make reality stay real. But, for instance, there were ghosts and specters. What should I do with them? And the sagas, were they real?[20]

Bergman also recalled receiving his own magic lantern at age 10, from his aunt;[21] in his autobiography, he described it as personally significant, and previously depicted a magic lantern in his 1972 Cries and Whispers.[22]

However, the Ekdahls do not entirely match the Bergmans.[18] Ingmar's relationship with his sister Margareta during their shared childhood is depicted through the character Fanny, who is included in the title though she is not as large a character as Alexander.[23] Bergman had previously modeled characters after his mother, Karin Åkerblom, as simultaneously "virgin and seductress": Emilie also fits that self-contradictory design.[23][b]

Margareta and Ingmar's father was the strict Erik Bergman, a Lutheran pastor.[17][26] Edvard is based on Erik, and like Edvard, Erik was raised in a family almost completely made up of women.[27] Erik and Ingmar also often conflicted over "truth" and honesty, much as Edvard and Alexander do.[28] The story Alexander tells of being sold to a circus resembles one Ingmar had told as a boy, and he was accosted by Erik much as Edvard lectures Alexander.[29] However, Bergman also stated that "It has been suggested ... that 12-year-old Alexander is my alter-ego. But this is not quite true. Fanny and Alexander is a story, the chronicle of a middle-class, perhaps upper-middle-class family sticking closely together ... There's a lot of me in the Bishop, rather than in Alexander. He is haunted by his own devils".[30]

Bergman proposed the project to producer Jörn Donner, who said he could provide the budget if all production and costume design crew would be Swedish. Bergman initially doubted that Sweden alone had the manpower, but eventually caved, Donner said.[31] The estimated budget of 40 million SEK made it the most costly Swedish film ever.[32] To raise the $6 million, Donner and the Swedish Film Institute partnered with the French company Gaumont and West German TV.[2] Bergman completed the screenplay by October 1980 and assembled a budget of $7 million, according to New York.[33]

Casting edit

 
 
Ingmar Bergman's father Erik Bergman (left) provided the inspiration for the character Edvard, played by Jan Malmsjö (right).

The project was announced in October 1980 with Liv Ullmann, Max von Sydow and Erland Josephson in lead roles; von Sydow was cast as Edvard, the bishop who Ingmar told the press resembled Erik Bergman.[33] However, negotiations to secure von Sydow became troubled as he continued to act more in productions beyond Sweden, and as his agent demanded a larger salary.[9][34] Edvard was recast with Jan Malmsjö, whom Bergman had worked with before in Scenes from a Marriage.[9] In 1981, Ullmann also rejected the role of Emilie, due to a scheduling conflict,[32] though in 2013 she remarked "I still don't know why I did that".[35][c]

Bertil Guve was 10 when cast as Alexander. Bergman had seen Guve in a television film by Lasse Hallström and called for an audition with Guve, though the boy did not know who Bergman was. Bergman ultimately cast Guve, without sharing the story of Fanny and Alexander with him, recognising his imagination when he told a story about killing his own grandfather during the audition.[38] Guve also said, "I asked Ingmar later why he chose me. He said it was because I acted with my eyes".[38] Child actress Pernilla Allwin was cast as Fanny, and she and Guve regarded each other as rivals when they first met and began working; Bergman identified with this sibling rivalry.[39]

Other actors, like Harriet Andersson, Gunnar Björnstrand, and Jarl Kulle, had previously appeared in Bergman's filmography.[9] Björnstrand was developing Alzheimer's syndrome, making it difficult for him to memorise his dialogue, but he was still awarded a small role.[34] Veteran actress Gunn Wållgren was cast as Helena, despite the fact that she was suffering from cancer, often concealing her pain during shots.[40] Fanny and Alexander marked the final film appearances of both Björnstrand and Wållgren.[41]

Pernilla Wallgren (later August) was cast, out of a state school where she was studying the stage, for what became her breakthrough role.[42] August later explained she received a message inviting her to read the screenplay, and she did not know how the filmmakers knew of her.[43] She had developed an interest in acting after seeing Bergman's Cries and Whispers, and wanted a part like Kari Sylwan's in a film one day.[44] Bergman also cast some of his real-life children, including Mats Bergman as Isak's nephew Aron, and Anna Bergman as Hanna Schwartz; Linn Ullmann was to play Alexander's older sister Amanda, but when Linn's school refused to give her a break for production, her father cut the character.[34] His ex-wife Käbi Laretei was cast as an aunt.[45] In total, there were 60 characters with lines, and over 1,200 extras.[46]

Pre-production edit

Art director Anna Asp was given six months before production to prepare, and started by building miniature models and drawing sets.[47] In creating the Ekdahl home, Bergman envisioned his real-life grandmother's Uppsala residence as a model. She had one apartment in the residence, whereas the other apartment belonged to Erik Bergman and his family.[48] Asp designed Oscar and Emilie's apartment with an Art Nouveau style.[48] For the bishop's house, Asp sought a design that would be frightening while still being a plausible home for a man of the church, and found inspiration from a photograph of a castle in a magazine.[47] In designing Isak's residence, Asp worked from Bergman's memory of a Jewish antiques shop owner, looking for a labyrinth-style.[48]

Costume designer Marik Vos oversaw a project requiring 250 costumes for the principal actors, along with over 1,000 costumes for the extras. She allowed the testing of the vast majority of fabric samples to determine how they appeared in photography, with Bergman demanding to see as many of the test shots as he could.[34] Vos also co-ordinated colours with Asp.[47]

Filming edit

 
Upplandsmuseet was used as a location.

Principal photography began in Uppsala, Sweden,[14] lasting from 7 September 1981 to 22 March 1982.[3] The filmmakers began shooting around Uppsala streets, which municipal leaders allowed the crew to redecorate.[49] Scenes were shot in chronological order, and Guve only learned the thrust of the story was his conflict with his stepfather during production.[38] On the first day of photography, Bergman decided to stage a pillow fight, which the apprehensive Wallgren credited for putting her at ease.[44] It also endeared the director to the child actors.[40] Guve developed a generally amiable relationship with Bergman and later Pernilla Allwin, and Allwin and Guve's habit of playing on bicycles between filming would dirty their costumes and cause the crew to rush to clean them.[39] Guve also conflicted with Bergman when he laughed during a shoot, at which point Bergman reprimanded him and said that it was "the most outrageous, the most unprofessional behaviour" he had ever seen.[38] While production meant full-time days during the workweek, Guve remained in school by spending the weekend on homework.[50]

Scenes were shot outside of Uppsala Cathedral, with the crew conflicting with the dean over whether an antenna could be removed.[49] For Edvard's house, shooting moved to Upplandsmuseet, Uppsala County's museum.[51] For interiors, the same sets in Uppsala and the Swedish Film Institute were used to portray multiple places.[52]

With Bergman suffering from influenza, his colleagues substituted for him in shooting Oscar's funeral scene with 500 extras and a brass band.[49] At one point during production, a crossbeam fell over in the studio and nearly hit Bergman and cinematographer Sven Nykvist. Other crew were injured in workplace accidents.[9] One injury took place when a male stunt performer portraying the burning Aunt Elsa was actually burned by spilled napalm.[49] Much of the production was recorded by Bergman and Arne Carlsson for the 1984 documentary, The Making of Fanny and Alexander.[53]

Themes and interpretations edit

Critic Michiko Kakutani identified Fanny and Alexander as sharing marriage-drama and domestic themes as his Thirst (1949), Scenes from a Marriage (1973) and From the Life of the Marionettes.[19] In contrast, academic Linda Haverty expressed surprise at Bergman, including his use of fantastical elements such as ghosts and telepathy as they were a departure from the psychological horror of his work in the 1960s and 1970s, for this Bildungsroman story.[54] Professor Frank Gado argued in his 1986 book The Passion of Ingmar Bergman that Fanny and Alexander is "actually two films, which, except that they concern members of the same family, are dramatically separate entities. The glow that warmed audiences radiates from only an outer layer; its core is as chilling as any of Bergman's fictions".[14]

Magic and reality edit

 
Gunn Wållgren in Strindberg's A Dream Play, 1955.

Academic Egil Törnqvist identified the character Gustav Adolf with secular merriment, while Alexander and Isak inhabit a world filled with the supernatural and evil.[55] Critic Dave Kehr interpreted the fairy tale style as a product of the story being told from Alexander's perspective, coloured with "myth and legend".[56] Alexander experiences "visions of ghosts or dream visions alongside everyday reality", author Laura Hubner wrote.[57] The sequence these visions are seen in may be significant. After being punished by Edvard for telling a story about how the Vergérus family died, Alexander is haunted by the ghosts of the family who deny Edvard's culpability, suggesting Edvard frightened Alexander into seeing this new vision.[58] Writer Mas'ud Zavarzadeh rationalised Alexander's visions as a product of the character being "an artist in the making". Zavarzadeh further noted, "He is involved in the construction of a more genuine and stable reality than the one that surrounds him".[59]

As indicated by Gustav Adolf's final speech, most of the Ekdahls do not spend much time grappling with the meaning of life.[60][d] Zavarzadeh also contrasted Alexander to another of his uncles, Carl, a scholar who relies on logic but who is reduced to an absurdity, at one point entertaining the children with his flatulence.[62] Törnqvist considered the surname of the characters to be inspired by Henrik Ibsen's 1884 play The Wild Duck, and that it made the name Ekdal synonymous with characters who cope with illusions about reality. Fanny and Alexander adds an H to Ekdal, giving it an aristocratic air, Törnqvist added.[63]

Huber cited academics Marilyn Johns Blackwell and Törnqvist in support of the point that, despite the title, Alexander is the lead role and Fanny is a minor character; Blackwell added that imagination is "largely gendered as male".[64] Concurring that Fanny is a minor character, Kehr further argued that Alexander influences the plot to a lesser degree than the adult characters, but remains the focus in the storytelling.[56]

On Alexander's visions and their reality, critic Roger Ebert argued:

Fanny and Alexander is above all the story of what Alexander understands is really happening. If magic is real, if ghosts can walk, so be it. Bergman has often allowed the supernatural into his films. In another sense, the events in Fanny and Alexander may be seen through the prism of the children's memories, so that half-understood and half-forgotten events have been reconstructed into a new fable that explains their lives.[10]

In the end, Helena reads from August Strindberg's 1902 play A Dream Play: "Anything can happen, all is possible and probable. Time and space do not exist. On an insignificant foundation of reality, imagination spins out and weaves new patterns".[65] As with A Dream Play, Fanny and Alexander explores "the unreality of life itself".[60] Gado suggested the quote refers to memories and imagination, and that all of Bergman's filmography could be dreams forming parts of one dream.[65]

Family conflict edit

 
The story references Shakespeare's Hamlet and its Ghost, played by Oscar.

Film Quarterly essayist Jarrod Hayes concluded the conflict between Alexander and Edvard is a "clash of two Titans", as Edvard summons "the power of an image, God, Alexander has the power of the Image".[66] Törnqvist observed Alexander's father Oscar wears white while his stepfather Edvard wears black, signifying they represent good and evil.[55] Academic Amir Cohen-Shalev also observed contrasts between Oscar and Edvard, Oscar as "well-meaning, loving but passive", and Edvard, as a far more strict man of the church, in the mold of Erik Bergman. Cohen-Shalev argued Edvard disguises his emotional shortcomings with his bourgeois veneer and "glib, affected piety".[67] While espousing his devotion, Edvard personally may have secretly lost his belief, and he conflicts with Alexander with "doublethink": using "love" to mean "hate".[68] Following Oscar's death, Cohen-Shalev argued Emilie chooses to marry Edvard because she is frightened as to how empty she is: "I could not understand why nothing really happened, why I never felt really happy".[69]

The story makes multiple references to William Shakespeare's play Hamlet;[70] According to Scott-Douglas, Alexander observes Oscar playing Hamlet's Ghost before he dies, and afterward appears as a ghost, while Alexander acquires a new abusive stepfather. This made "theatre and reality seem indistinguishable".[71] Cohen-Shalev argued Oscar being reduced to a ghost is his punishment for never truly living, and losing his life.[69] Törnqvist wrote the "triangle" of Alexander, Emilie and Edvard is explicitly explained with Emilie's reference to Hamlet, and the characters Hamlet, Queen Gertrude and King Claudius: "Don't act Hamlet, my son. I'm not Queen Gertrude, your kind stepfather is no king of Denmark, and this is not Elsinore Castle, even if it does look gloomy".[72] Emilie, like Gertrude, is also portrayed as unfaithful, with Bergman's screenplay suggesting Oscar is not Alexander's biological father: in the Nativity play, Oscar plays Joseph.[72] According to Helena, Oscar fell impotent after Fanny's birth, and Emilie afterward conducted circumspect affairs.[73]

By framing Edvard as "stepfather-king", the story becomes a battle between "infanticide and parricide", where killing Edvard is associated with Alexander's "artistic/sexual emancipation", scholar Arnold L. Weinstein wrote.[70] Törnqvist wrote Alexander displays an "erotic attraction to his mother", combined with a hatred for his stepfather, referencing the Oedipus complex.[72] Author Viveka Nyberg identified Oedipal themes as pervasive, suggesting Alexander believes he may have killed both his father and stepfather in competition for his mother's love.[74] Nyberg described Emilie as "beautiful and aloof in equal measure", and she cares for her children but concerns herself more with other things.[73] Alexander's story of being sold to the circus reflects his feelings of his mother forsaking him.[29] While Alexander appears to admire Oscar and his imagination, Alexander also listens in on his parents' interactions, and sleeps in Maj's bed, with Maj acting as stand-in mother and an object of sexual desire.[75]

Cohen-Shalev described cyclical patterns in the story: the family endures seasons of distinct "symbols, myths, and moods", including death in winter and resurrections in the spring; or, a trip to which the protagonist experiences a test in the "Valley of Tears" before achieving "blissful family unification".[30] Edvard is also forgiven with "a kind of humanity", Cohen-Shalev wrote, as Edvard confesses his faith is a mask, and his burning death mirrors his analogy of a mask that cannot be removed unless the flesh is removed as well.[67]

Christianity and Judaism edit

 
Carl Larsson's Julaftonen, a depiction of the Swedish Christmas in the 1900s.

The story opens with exploring celebrations of the Swedish Christmas, which is expressed through "colors, sounds, movements, music" that Cineaste critic Royal Brown called "life-affirming, pagan Christianity". This is starkly contrasted with Edvard's Christianity, which is dictated by asceticism, authoritarianism and concern with death, with Alexander finding his new home a bare, cold prison.[76] Professor Freddie Rokem wrote that, in contrast to Edvard's "rigorous and sterile" Protestantism, the Ekdahl Christmas party can include the Jewish Isak, as he is a dear friend of matriarch Helena Ekdahl, and this friendship is "utopian".[77] While at Isak's, his nephew Aron Retzinsky brings out a puppet of God, or deus ex machina, to which Alexander reacts with terror; he then tries to play down that fear, and is left to wonder how seriously to take the supernatural.[78] Author Harry Perridon argued that when Alexander declares God "is a shit", he means God in Christianity, associating the deity with suffering in the world. After this point, true miracles in Bergman's universe have to come from a different source, Perridon wrote.[79]

The depiction of Jews in Sweden revolves around Isak, which academic Rochelle Wright argues is "far more nuanced" than in Bergman's previous The Touch (1971). Isak is not completely assimilated, but his presence in Sweden is presented as positive, as he stands for imagination, "magic and mystery", Wright wrote.[80] Erland Josephson, who played Isak, described his performance as a stereotyped portrayal of a Jew, but with mystical and tragic elements, drawing on Jewish people and their history.[81] Hayes argued that with its take on "time and space", the story hinted at Jewish mysticism and the Kabbalah. The light that engulfs Isak when he screams after being beaten by Edvard calls on the light of the Kabbalah to vanquish evil, Hayes hypothesised.[82] The scream may have invited "spiritual intervention", allowing the children's escape by rendering them invisible in Isak's trunk, while the children seemingly appear lying on the floor to Edvard.[83] Törnqvist hypothesised that Jewish pantheism replaces Christian belief in "grace and punishment" in the story.[72] Royal Brown argued that Isak's "cabbalistic magic and animism" is closer to the Ekdahls' Christianity than to Edvard's.[76]

 
 
The Biblical Ishmael (depicted in statue by Hans Peder Pedersen-Dan) is the namesake of Ismael, played by Stina Ekblad.

Törnqvist identified Ismael as "one of the more enigmatic features" of Fanny and Alexander, commenting on the character as a fusion of elements. Ismael speaks the Finno-Swedish language, and he is androgynous, being a male character played by a woman, Stina Ekblad. Ismael also says to Alexander, "Perhaps we are the same person".[55] Author Daniel Humphrey also commented in Ismael's androgyny, conveying "queerness and foreignness" but presented as spiritually identical to Alexander.[84] Additionally, Humphrey commented on the name, with Ishmael of the Bible being a bastard son of Abraham and progenitor of the Arab people, considered "paradigmatic" by Christians and Jews alike.[84] A Dream Play author Strindberg had taken interest in the Ishmael character.[85] Törnqvist also identified Ismael as matching Hamlet in education, intelligence, real or feigned insanity and anti-social nature.[55]

Hayes commented on the way Ismael holds Alexander, remarking it was "Alexander's erotic encounter with a man/a woman/himself".[86] Critic Robin Wood and Richard Lippe argued Ismael directly replaces Oscar, dismissed by Alexander as not serving a purpose; Ismael instead brings danger and sexual ambiguity: Wood and Lippe observed Ismael touching Alexander and kissing Aron.[87] The role of Ismael and Alexander's ritual in Edvard's death is uncertain: Ismael speaks of what will happen in the future in describing Edvard's death, but it can all be logically explained, with a police officer informing Emilie the death is legally accidental.[88]

Release edit

Acts in the long version[1][e]
Prologue
Familjen Ekdahl firar jul, The Ekdahl Family Celebrates Christmas
Vålnaden, The Wraith
Uppbrottet, The Breakup
Sommarens händelser, The Summer's Events
Demonerna, The Demons
Epilogue

While cinematic film stock was used in production, Bergman conceived of the presentation as a television miniseries,[89] and there are different versions, presented as a miniseries and film.[90] The longer version intended for television was the original.[91] After completing production, Bergman had to edit the complete cut to 188 minutes for screenings in theatres, regretting losing much of the fantasy material. He remarked, "This was extremely troublesome, as I had to cut into the nerves and lifeblood of the film".[20] The film premiered in Stockholm on 17 December 1982 in its 188-minute theatrical cut.[92] Distribution rights were sold to 30 other countries in 1982.[53] It subsequently opened in France on 9 March 1983,[5] West Germany on 8 October 1983,[6] and the United States on 17 June 1983.[32]

The complete version runs 312 minutes.[93] It was released in Swedish theatres in 1983,[94] and screened at the 40th Venice International Film Festival in September 1983.[f] It subsequently aired as a miniseries on Sveriges Television in four segments, and five episodes of unequal length at Bergman's demand. They ran 92, 40, 37, 60 and 90 minutes, beginning 25 December 1984.[3][e] After debuting at the Swedish Film Institute on 16 September 1984, The Making of Fanny and Alexander aired with a television repeat of Fanny and Alexander in Sweden on 18 August 1986.[53] In 1991, the Guinness Book of World Records listed the five-hour version as among the longest films in history.[97] The entire miniseries ran on SVT1 in Sweden on 2 August 2007, with 10-minute newscast interruption, rendering it a two-part version.[90] The screenplay was also published as a book and translated into English in 1983.[98]

In Region 2, Artificial Eye released the five-hour version on DVD in 2002.[99] In 2011 in Region A, The Criterion Collection published a Blu-ray edition including the theatrical version, the television version, and The Making of Fanny and Alexander.[100]

Reception edit

Box office edit

There were large audiences in Sweden at showings of Fanny and Alexander, including at the five-hour cut,[101] making it the most popular box-office film Bergman had in his native country.[94][102] It had 374,208 admissions in France and 165,146 in Germany.[103] This amounted to minimal presence in the French box-office.[104]

Fanny and Alexander finished its run grossing $6,783,304 in North America.[8] According to critic Vincent Canby's analysis, the film did "extremely well" and had its niche audience, but could not match summer blockbuster competition which dominated the top 15 spots in the box office, particularly Return of the Jedi.[105] In 1992, Variety ranked it the 21st highest grossing foreign film in U.S. box office history, and the fifth-highest grossing Swedish film after 1967's I Am Curious (Yellow) and Elvira Madigan, Dear John (1964) and My Life as a Dog (1985).[106]

Critical reception edit

Upon its release in the U.S. in 1983, the theatrical version of Ingmar Bergman's Fanny and Alexander generated a wealth of controversy. Bergman has always seemed to breed conflict among cineastes [...] but Fanny and Alexander, which the director announced as his final theatrical release, seemed to bring the critics out in even greater force, as though there were just the one remaining chance to be quoted on the subject. You either loved the film or hated it, and strong voices from the reviewing community lined up on either side.

—Rick Moody, The Criterion Collection[107]

Upon release in Sweden, the film received generally positive reviews, with Expressen critic Lasse Bergström approving of the portrayal of the Oscarian era.[53] Critic Stig Larsson assessed it as Bergman's ironic take on his past filmography.[53] Jönköpings-Posten posted a positive review on 7 February 1983, followed by a second critic in the same paper accusing the film of creating false joy on 21 February.[108] The film ranked 10th on Cahiers du Cinéma's Top 10 Films of the Year List in 1983.[109]

Vincent Canby's contemporary review in The New York Times described it a "big, dark, beautiful, generous family chronicle"; Canby also praised the cast as "uniformly excellent".[12] Roger Ebert awarded it four stars, assessing it as "a big, exciting, ambitious film", relatable to audiences though more specific in its story than Bergman's prior studies of faith and sex,[110] and named it the 4th best film of 1983.[111] Variety staff called it "a sumptuously produced period piece" blending "elegance with intimacy".[112] For The Washington Post, Rita Kempley found the story more cheerful than past Bergman productions, highlighting Ewa Fröling and comparing her to Liv Ullmann.[13] In The New York Times, Michiko Kakutani compared the film's "generosity of vision" to the comedies of William Shakespeare.[19] The Nation critic Robert Hatch compared it to Shakespeare's The Tempest as a final life-affirming work, featuring "magic with the casual authority of Prospero himself".[113] Kerry Brougher denied it was Bergman's magnum opus, but still said it was "a thoughtful, graceful, beautifully filmed work".[114] National Review critic John Simon wrote a negative review, calling it "overstuffed", and expressing lack of interest in Fröling and Guve as newcomers to Bergman's filmography.[115]

Ebert added it to his Great Movies list in 2004, hailing it as "astonishingly beautiful", crediting Sven Nykvist for "color and warmth".[10] In 2010, The Guardian ranked the film eighth in its list of 25 greatest arthouse films.[116] Reviewing The Criterion Collection Blu-ray, Andre Dellamorte wrote that despite the five-hour runtime, the story was uncomplicated but always interesting.[117] The Observer quoted actor Matthew Macfadyen as saying the film "featured just the most extraordinary acting I'd ever seen". Macfadyen added that as a RADA student, the film was shown as "an example to follow – an example of people acting with each other".[118] Polish film director Agnieszka Holland also praised it in 2012, saying both children and intellectuals could enjoy it and that it gives a very vivid portrait of another era.[119] In his 2015 Movie Guide, Leonard Maltin gave it four stars, identifying its emotions as "exquisitely expressed".[120]

Pauline Kael wrote a more mixed review, enjoying the merry atmosphere but writing the "conventionality" is "rather shocking", suggesting Bergman had moved to Victorian times to escape his usual eccentric viewpoints.[121] The Guardian critic Alex Cox wrote a negative review in 2006, claiming there was no story for the first two of three hours, and that the analogy to Hamlet did not hold up as Alexander knows Edvard is evil, whereas Hamlet is uncertain if the Ghost is a demon and Claudius is innocent. Cox had not seen the longer version, but considered it might be better.[122]

In 1990, Fanny and Alexander was named the best film of the 1980s by Los Angeles Times by Sheila Benson,[123] who called it "generous, ribald, reflective and radiantly life-affirming",[124] and Michael Wilmington,[125] and the third best by Newsweek critic David Ansen.[123] In 1996, Fanny and Alexander was ranked at No. 36 in Movieline Magazine's "100 Greatest Foreign Films".[126] In 2004, The New York Times also included the film on its list of "the Best 1,000 Movies Ever Made".[127] Xan Brooks, in The Guardian's Film Season, chose the film as the eighth "best arthouse film of all time". He described it as "an opulent family saga, by turns bawdy, stark and strange" with a rare abundance of "indelible supporting characters".[128] In 2007, the film was ranked at No. 23 by The Guardian's readers' poll on its list of "40 greatest foreign films of all time".[129] The film was Voted at No. 44 on the list of "100 Greatest Films" by the prominent French magazine Cahiers du cinéma in 2008.[130] In the British Film Institute's 2012 Sight & Sound polls of the greatest films ever made, Fanny and Alexander was 84th among critics and 16th among directors.[131] In the earlier 2002 version of the list, the film ranked 35th among critics[132] and 19th among directors.[133][134] Also in 2002, Sight and Sound magazine invited several critics to make a list of the best films of last 25 years and Fanny and Alexander was ranked at number three.[135] In 2012 the film was voted at number five on the 25 best Swedish films of all-time list by a poll of 50 film critics and academics conducted by film magazine FLM.[136] In 2018 ,the film was ranked 28th in BBC's list of The 100 greatest foreign language films.[137] In 2022 edition of Sight & Sound's Greatest films of all time list the film ranked 53rd in the director's poll.[138]

Fanny and Alexander has a 100% approval rating on Rotten Tomatoes, based on 45 reviews, with a weighted average of 9/10. The site's consensus reads: "Ingmar Bergman conveys the sweep of childhood with a fastidious attention to detail and sumptuous insight into human frailty in Fanny and Alexander, a masterwork that crystalizes many of the directors' preoccupations into a familial epic".[139] On Metacritic, the film has a weighted average score of 100 out of 100 based on 8 critics, indicating "universal acclaim".[140]

Accolades edit

The film received six Academy Award nominations, winning four, including Best Foreign Language Film.[141] It also received the third highest number of nominations of 1984, after Terms of Endearment and The Right Stuff (both released in 1983).[142] The four wins was the most any foreign-language film had received at the Academy Awards to date until it tied the record with Crouching Tiger, Hidden Dragon (2000), Parasite (2019) and All Quiet on the Western Front (2022).[143] Fanny and Alexander marked the third and final time Bergman won Best Foreign Language Film, after The Virgin Spring (1960) and Through a Glass Darkly (1961).[144] Bergman did not personally attend the ceremony, while working on a stage production in Munich, so his award was accepted by his wife Ingrid von Rosen and Jörn Donner.[143] The film won the FIPRESCI Prize at 1983 Venice Film Festival.[145] It also won the French Syndicate of Cinema Critics Award for Best Foreign Film.[146]

Accolades for Fanny and Alexander
Award Date of ceremony Category Recipient(s) Result
Academy Awards[147] 9 April 1984 Best Director Ingmar Bergman Nominated
Best Original Screenplay Nominated
Best Foreign Language Film Won
Best Art Direction Anna Asp Won
Best Cinematography Sven Nykvist Won
Best Costume Design Marik Vos-Lundh Won
BAFTA Awards[148] 1984 Film Not in the English Language Jörn Donner, Ingmar Bergman Nominated
Best Cinematography Sven Nykvist Won
Best Costume Design Marik Vos-Lundh Nominated
César Awards[149] 3 March 1984 Best Foreign Film Ingmar Bergman Won
David di Donatello Awards[150] 1984 Best Foreign Film Won
Best Foreign Director Won
Best Foreign Screenplay Won
Directors Guild of America[151] 1983 Best Director Nominated
Golden Globes[152] 28 January 1984 Best Foreign Language Film Won
Best Director - Motion Picture Nominated
Guldbagge Awards[150] 31 October 1983 Best Film Won
Best Director Won
Best Actor Jarl Kulle Won
Los Angeles Film Critics Association[153] 17 December 1983 Best Foreign Language Film Ingmar Bergman Won
Best Cinematography Sven Nykvist Won
National Board of Review[154] 14 December 1983 Best Foreign Language Film Ingmar Bergman Won
Top Five Foreign Films Won
New York Film Critics Circle[155] 29 January 1984 Best Foreign Language Film Won
Best Director Won

Legacy edit

After ostensibly retiring from directing, Bergman completed After the Rehearsal in 1984.[g] Bergman also conceived of a biographical project following his parents Erik and Karin Åkerblom, and in a press conference in August 1989, announced he planned a production that could be considered a follow-up to Fanny and Alexander and his 1987 autobiography The Magic Lantern.[156] The resulting 1991–92 miniseries and film The Best Intentions was directed by Bille August and won the Palme d'Or at the 1992 Cannes Film Festival. Bergman selected Bille August as director on condition that Fanny and Alexander actress Pernilla Wallgren star as Bergman's mother; she did under the name Pernilla August.[157] Critic Vincent Canby also identified Ingmar's screenplay Sunday's Children, directed by Daniel Bergman and released in 1992, as "a continuation" of Fanny and Alexander and The Best Intentions, and questioned if Ingmar had truly retired.[158] Whereas Ingmar's recollections of Erik Bergman are damning in Fanny and Alexander, his study of his father is "far more forgiving" in The Best Intentions and Sunday's Children.[39][h] After The Best Intentions, Pernilla August played Ingmar's mother twice more, in the 1996 Private Confessions and 1997 In the Presence of a Clown.[42]

Following Bergman's death in 2007, PostNord Sverige decided to honour the director with a postage stamp depicting him directing Fanny and Alexander.[160] In the two decades following the release, "Fanny and Alexander" decorations were also common in Swedish businesses at Jul.[101] In 2017, Hallwyl Museum also exhibited costumes from Fanny and Alexander and other Bergman films.[161]

Stefan Larsson directed a stage adaptation of Fanny and Alexander for the Royal Dramatic Theatre, which traveled to Uppsala City Theater in 2012.[162] It played at the John F. Kennedy Center for the Performing Arts in Washington, D.C. in 2013.[163] In 2010, stage adaptations also played in Finland, directed by Maria Lundström and Tiina Puumalainen,[164] and Norway, where it was the biggest box office success in the National Theatre's history.[165] Later, Stephen Beresford wrote an adaptation for The Old Vic in London, directed by Max Webster and starring Penelope Wilton. It was scheduled to debut February 2018.[166]

The film has exercised considerable influence on subsequent filmmaking, not only in Sweden. South Korean director Bong Joon-ho has listed it as one of his favourite films, and stated that it has "the most beautiful ending to a feature film career in the history of cinema".[167] French director Arnaud Desplechin frequently cites Fanny and Alexander as a critical touchstone for his own career, and has labelled his own La Vie des Morts as "a complete rip-off of that film". He noted that "I saw Fanny and Alexander and then I became a director. Before, I was a technician, and after that film, I became a director."[168] Filmmaker Barry Jenkins listed Fanny and Alexander as one of his favourite films.[169][170] The Japanese filmmaker Akira Kurosawa cited Fanny and Alexander as one of his favorite films.[171][172]

See also edit

Explanatory notes edit

  1. ^ Critic Roger Ebert observed the town in the film is unnamed.[10] However, some publications refer to it as Bergman's own hometown Uppsala.[11][12][13] Frank Gado suggests that "though not identified by name," the town is "unmistakably Uppsala."[14]
  2. ^ Bergman also intended his 1972 Cries and Whispers as a "portrait of my mother ... the great beloved of my childhood".[24] All four female Cries and Whispers protagonists are meant to represent different aspects of her personality.[25]
  3. ^ Before the director's death in 2007, Ullmann starred in 11 of his works and became known as his muse.[36] Roger Ebert remarked Bergman and Ullmann's "lives have been intertwined since Persona, and that's been the most important fact in ... [Ullmann's] artistic life", and they also had a daughter, Linn Ullmann.[37]
  4. ^ Gustav Adolf states: "We Ekdahls have not come into the world to see through it, never think that. We are not equipped for such excursions. We might just as well ignore the big things. [...] Suddenly, the storm howls and disaster is upon us [...] So it shall be. Therefore, let us be happy while we're happy, let's be kind, generous, affectionate, and good. Therefore it is necessary, and not in the least shameful, to take pleasure in the little world, good food, gentle smiles, fruit trees in bloom, Waltzes".[61]
  5. ^ a b The first segment combines the Prologue and "The Ekdahl Family celebrates Christmas"; the second segment, combining acts "The Wraith" and "The Breakup", totals approximately 75 minutes; the third segment contains the act "The Summer's Events"; the fourth segment combines "The Demons" and Epilogue.[96]
  6. ^ At the festival where the five-hour Fanny and Alexander was screened, Bergman accepted the Golden Lion, though it was awarded for lifetime achievement rather than for Fanny and Alexander particularly, and had been announced at the 1982 Festival.[95]
  7. ^ Critic Robin Wood observed After the Rehearsal was a television production and Fanny and Alexander was announced as be his last cinematic work, though Fanny and Alexander was also made for television: "the distinctions blur", Wood wrote.[91]
  8. ^ Earlier with his 1963 film Winter Light, which had a clergyman protagonist, Bergman took the rare step of sharing the screenplay with Erik Bergman, and boasted that Erik read it three times. Ingmar was possibly trying to communicate that he understood Erik, though the name of the character, Ericsson (son of Erik), may indicate the character represents Ingmar more than his father.[159]

References edit

Citations edit

  1. ^ a b c d e f g "Fanny och Alexander (1982)" (in Swedish). Swedish Film Database. from the original on 14 December 2017. Retrieved 13 December 2017.
  2. ^ a b Vermilye 2006, p. 41.
  3. ^ a b c Steene 2005, p. 435.
  4. ^ "Fanny und Alexander". filmportal.de. Retrieved 8 October 2021.
  5. ^ a b "Fanny Et Alexandre" (in French). AlloCiné. from the original on 24 October 2017. Retrieved 15 December 2017.
  6. ^ a b "Fanny und Alexander". Filmlexikon (in German). from the original on 16 December 2017. Retrieved 15 December 2017.
  7. ^ a b . British Film Institute. Archived from the original on 20 September 2017. Retrieved 14 December 2017.
  8. ^ a b c "Fanny and Alexander". Box Office Mojo. from the original on 13 December 2017. Retrieved 13 December 2017.
  9. ^ a b c d e Steffen, James. "Fanny and Alexander". Turner Classic Movies. from the original on 1 December 2017. Retrieved 13 December 2017.
  10. ^ a b c Ebert, Roger (5 December 2004). "Fanny and Alexander". RogerEbert.com. from the original on 14 December 2017. Retrieved 13 December 2017.
  11. ^ Haenni, Barrow & White 2014, p. 231.
  12. ^ a b Canby, Vincent (17 June 1983). "Movie Review: Fanny and Alexander (1982)". The New York Times. from the original on 5 November 2013. Retrieved 26 February 2012.
  13. ^ a b Kempley, Rita (1 July 1983). "Bergman's 'Fanny and Alexander'". The Washington Post. from the original on 29 December 2017. Retrieved 13 December 2017.
  14. ^ a b c Gado 1986, p. 496.
  15. ^ Vermilye 2006, p. 42.
  16. ^ Gado 1986, p. 494.
  17. ^ a b Baxter, Brian (30 July 2007). "Obituary: Ingmar Bergman". The Guardian. from the original on 11 January 2014. Retrieved 24 November 2011.
  18. ^ a b Gado 1986, p. 1.
  19. ^ a b c Kakutani, Michiko (6 June 1983). "Ingmar Bergman: Summing Up a Life in Film". The New York Times. from the original on 14 December 2017. Retrieved 14 December 2017.
  20. ^ a b Björkman, Stig (9 November 2011). "Fanny and Alexander: In the World of Childhood". The Criterion Collection. from the original on 13 December 2017. Retrieved 12 December 2017.
  21. ^ Steene 2005, p. 32.
  22. ^ Sitney 2014, p. 49.
  23. ^ a b Gado 1986, p. 498.
  24. ^ Gado 1986, p. 408.
  25. ^ Gervais 1999, p. 120.
  26. ^ "Ingmar Bergman Overview". Turner Classic Movies. from the original on 6 December 2011. Retrieved 24 November 2011.
  27. ^ Gado 1986, p. 503.
  28. ^ Hubner 2007, p. 117.
  29. ^ a b Nyberg 2005, p. 109.
  30. ^ a b Cohen-Shalev 2009, p. 76.
  31. ^ Donner, Jörn (2011). Fanny and Alexander: A Bergman Tapestry. Fanny and Alexander (Blu-ray). The Criterion Collection.
  32. ^ a b c Steene 2005, p. 330.
  33. ^ a b Wolf, William (27 October 1980). "Face to Face with Ingmar Bergman". New York. Vol. 13, no. 42. p. 37.
  34. ^ a b c d Holmberg, Jan (ed.). "Fanny and Alexander". The Ingmar Bergman Foundation. from the original on 14 December 2017. Retrieved 13 December 2017.
  35. ^ Thurman, Judith (9 December 2013). "Born Outsiders". The New Yorker. from the original on 14 December 2017. Retrieved 13 December 2017.
  36. ^ Shanahan, Mark (20 May 2016). "Liv Ullmann talks about Ingmar Bergman". The Boston Globe. from the original on 11 October 2017. Retrieved 11 October 2017.
  37. ^ Ebert, Roger (16 February 2001). "Liv Ullmann and Memories of Bergman". RogerEbert.com. from the original on 11 October 2017. Retrieved 11 October 2017.
  38. ^ a b c d Macnab, Geoffrey (30 May 2008). "Memories of a child star". The Guardian. from the original on 14 December 2017. Retrieved 13 December 2017.
  39. ^ a b c Macnab 2009, p. 210.
  40. ^ a b Farago, Katinka (2011). Fanny and Alexander: A Bergman Tapestry. Fanny and Alexander (Blu-ray) (in Swedish). The Criterion Collection.
  41. ^ Vermilye 2006, p. 164.
  42. ^ a b Qvist & von Bagh 2000, p. 41.
  43. ^ August, Pernilla (2011). Fanny and Alexander: A Bergman Tapestry. Fanny and Alexander (Blu-ray). The Criterion Collection.
  44. ^ a b Sweet, Matthew (26 April 2003). "Pernilla August: Bergman, Jesus, Darth Vader - I have mothered them all". The Independent. from the original on 14 December 2017. Retrieved 13 December 2017.
  45. ^ Vermilye 2006, p. 43.
  46. ^ O'Sullivan 2014, p. 116.
  47. ^ a b c Asp, Anna (2011). Fanny and Alexander: A Bergman Tapestry. Fanny and Alexander (Blu-ray). The Criterion Collection.
  48. ^ a b c Set Models. Fanny and Alexander (Blu-ray). The Criterion Collection. 2011.
  49. ^ a b c d Bergman, Ingmar (2011). Dokument Fanny och Alexander. Fanny and Alexander (Blu-ray) (in Swedish). The Criterion Collection.
  50. ^ Johnson, Mary (12 December 1983). "When It Comes to Hits, Bergman Star Bertil Guve Thinks Baseball, Not Movies". People. from the original on 17 December 2017. Retrieved 17 December 2017.
  51. ^ Udovic 2014.
  52. ^ Farago, Katinka; Asp, Anna (2011). Fanny and Alexander: A Bergman Tapestry. Fanny and Alexander (Blu-ray) (in Swedish). The Criterion Collection.
  53. ^ a b c d e Steene 2005, p. 332.
  54. ^ Haverty 1988, p. 176.
  55. ^ a b c d Törnqvist 1995, p. 185.
  56. ^ a b Kehr 2017, p. 102.
  57. ^ Hubner 2007, p. 122.
  58. ^ Hubner 2007, pp. 122–123.
  59. ^ Zavarzadeh 1991, p. 229.
  60. ^ a b Törnqvist 1995, p. 176.
  61. ^ Gervais 1999, pp. 142–143.
  62. ^ Zavarzadeh 1991, p. 232.
  63. ^ Törnqvist 1995, p. 175.
  64. ^ Hubner 2007, p. 121.
  65. ^ a b Gado 1986, p. 506.
  66. ^ Hayes 1997, p. 46.
  67. ^ a b Cohen-Shalev 2009, p. 81.
  68. ^ Brady & Lee 1988, p. 205.
  69. ^ a b Cohen-Shalev 2009, p. 78.
  70. ^ a b Weinstein 2008, p. 191.
  71. ^ Scott-Douglass 2004, p. 256.
  72. ^ a b c d Törnqvist 1995, p. 177.
  73. ^ a b Nyberg 2005, p. 103.
  74. ^ Nyberg 2005, p. 101.
  75. ^ Nyberg 2005, p. 105.
  76. ^ a b Brown, Royal S. (Summer 2005). "Fanny and Alexander". Cineaste. Vol. 30, no. 3. p. 76.
  77. ^ Rokem 2012, pp. 128–129.
  78. ^ Rokem 2012, p. 129.
  79. ^ Perridon 1998, p. 185.
  80. ^ Wright 2005, p. 59.
  81. ^ Josephson, Erland (2011). Fanny and Alexander: A Bergman Tapestry. Fanny and Alexander (Blu-ray) (in Swedish). The Criterion Collection.
  82. ^ Hayes 1997, p. 43.
  83. ^ Luko 2015, p. 196.
  84. ^ a b Humphrey 2013, pp. 183–184.
  85. ^ Haverty 1988, p. 178.
  86. ^ Hayes 1997, p. 44.
  87. ^ Wood & Lippe 2012, p. 250.
  88. ^ Haverty 1988, p. 179.
  89. ^ Gervais 1999, p. 224.
  90. ^ a b Waltenberg, Lilith (3 August 2007). "Bergman-film för mastig att visas utan paus". Sydsvenskan (in Swedish). from the original on 17 October 2017. Retrieved 15 December 2017.
  91. ^ a b Wood & Lippe 2012, p. 245.
  92. ^ Marker & Marker 1992, p. 305.
  93. ^ Shargel 2007, p. xlviii.
  94. ^ a b Sundholm 2012, p. 149.
  95. ^ Steene 2005, p. 1041.
  96. ^ O'Sullivan 2014, p. 112.
  97. ^ Robertson 1991, p. 19.
  98. ^ Deutelbaum, Marshall (1 February 1983). "Theater". Library Journal. Vol. 108, no. 3. p. 219.
  99. ^ Mackie, Rob (8 March 2002). "Fluffy love". The Guardian. from the original on 16 December 2017. Retrieved 15 December 2017.
  100. ^ Cabin, Chris (10 November 2011). "Fanny and Alexander". Slant Magazine. from the original on 13 December 2017. Retrieved 15 December 2017.
  101. ^ a b Timm 2012, pp. 127–137.
  102. ^ Vermilye 2006, p. 162.
  103. ^ "Fanny Et Alexandre". JP's Box-Office. from the original on 12 August 2014. Retrieved 17 December 2017.
  104. ^ Chabrol 2015, p. 509.
  105. ^ Canby, Vincent (18 September 1983). "Film View; At The Box Office, Summer Has A Split Personality". The New York Times. from the original on 24 May 2015. Retrieved 17 December 2017.
  106. ^ Segrave 2004, pp. 213–214.
  107. ^ Moody, Rick (15 November 2004). "Fanny and Alexander: Bergman's Bildungsroman". The Criterion Collection. from the original on 7 June 2012. Retrieved 26 February 2012.
  108. ^ Steene 2005, p. 333.
  109. ^ Johnson, Eric C. . alumnus.caltech.edu. Archived from the original on 27 March 2012. Retrieved 17 December 2017.
  110. ^ Ebert, Roger (8 July 1983). "Fanny and Alexander". RogerEbert.com. from the original on 14 December 2017. Retrieved 13 December 2017.
  111. ^ . Chicago Sun-Times. Archived from the original on September 8, 2006.
  112. ^ Staff (31 December 1981). "Fanny Och Alexander". Variety. from the original on 14 December 2017. Retrieved 13 December 2017.
  113. ^ Hatch, Robert (2 July 1983). "Films". The Nation. Vol. 237, no. 1. p. 27.
  114. ^ Brougher, Kerry (October 1983). "The Cutting Room". Orange Coast Magazine. p. 131.
  115. ^ Simon, John (22 July 1983). "Farewell Symphony". National Review. Vol. 35, no. 14. pp. 887–888.
  116. ^ "Fanny and Alexander: No 8 best arthouse film of all time". theguardian. 20 October 2010.
  117. ^ Dellamorte, Andre (28 December 2011). "Fanny And Alexander Criterion Blu-ray Review". Collider. from the original on 14 December 2017. Retrieved 13 December 2017.
  118. ^ Lamont, Tom (21 August 2011). "The film that changed my life: Matthew Macfadyen". The Observer. from the original on 5 November 2013. Retrieved 26 February 2012.
  119. ^ Bowie-Sell, Daisy (16 March 2012). "Agnieszka Holland on Fanny and Alexander". The Daily Telegraph. from the original on 10 April 2016. Retrieved 13 December 2017.
  120. ^ Maltin 2014, p. 761.
  121. ^ Kael 2011, p. 236.
  122. ^ Cox, Alex (7 January 2006). "A sentimental education". The Guardian. from the original on 15 December 2017. Retrieved 14 December 2017.
  123. ^ a b Weinberg, Marc (April 1990). "The Eighties' Finest Films". Orange Coast Magazine. Vol. 16, no. 4. p. 189.
  124. ^ Benson, Sheila (24 December 1989). "Films of the '80s--Critics Recall the Best". Los Angeles Times. from the original on 12 October 2015. Retrieved 15 December 2017.
  125. ^ Weinberg, Marc (April 1990). "The Eighties' Finest Films". Orange Coast Magazine. Vol. 16, no. 4. p. 191.
  126. ^ "100 Greatest Foreign Films by Movieline Magazine". Filmsite.org. Retrieved 19 April 2009.
  127. ^ The Film Critics (2004). . The New York Times. Archived from the original on 22 July 2016. Retrieved 13 August 2016.
  128. ^ Brooks, Xan (20 October 2010). "Fanny and Alexander: No 8 best arthouse film of all time". The Guardian. from the original on 17 October 2013. Retrieved 26 February 2012.
  129. ^ "As chosen by you...the greatest foreign films of all time". The Guardian. 11 May 2007.
  130. ^ "Cahiers du cinéma's 100 Greatest Films". 23 November 2008.
  131. ^ . British Film Institute. Archived from the original on 18 January 2017. Retrieved 16 January 2017.
  132. ^ . Sight & Sound. British Film Institute. Archived from the original on 15 May 2012. Retrieved 24 April 2009.
  133. ^ "Sight & Sound 2002 Directors' Greatest Films poll". listal.com.
  134. ^ . old.bfi.org.uk. Archived from the original on 1 February 2017. Retrieved 28 April 2021.
  135. ^ . BFI. 25 January 2012. Archived from the original on 13 October 2018. Retrieved 9 September 2012.
  136. ^ "De 25 bästa svenska filmerna genom tiderna". Flm (in Swedish). 30 August 2012. Retrieved 30 August 2012.
  137. ^ "The 100 Greatest Foreign Language Films". bbc. 29 October 2018. Retrieved 10 January 2021.
  138. ^ "Directors' 100 Greatest Films of All Time". bfi.org.
  139. ^ "Fanny & Alexander (1982)". Rotten Tomatoes. from the original on 21 December 2017. Retrieved 22 January 2021.
  140. ^ "Fanny and Alexander". Metacritic.
  141. ^ Marker & Marker 1992, p. 326.
  142. ^ Harmetz, Aljean (17 February 1984). "'Endearment' Tops Oscar Nominations". The New York Times. from the original on 1 July 2017. Retrieved 13 December 2017.
  143. ^ a b Vermilye 2006, p. 44.
  144. ^ "Ingmar Bergman dies at 89". Variety. Associated Press. 3 August 2007. from the original on 14 December 2017. Retrieved 21 October 2017.
  145. ^ "40th Venice Film Festival". FIPRESCI.
  146. ^ "SFCC Critics' Award 1983". Syndicate de la Critique.
  147. ^ "The 56th Academy Awards (1984) Nominees and Winners". Academy of Motion Picture Arts and Sciences. from the original on 2 April 2015. Retrieved 27 October 2013.
  148. ^ "Film in 1984". British Academy of Film and Television Arts. from the original on 12 December 2017. Retrieved 11 December 2017.
  149. ^ "Prix et nominations : César 1984". AlloCiné. from the original on 12 December 2017. Retrieved 11 December 2017.
  150. ^ a b "Fanny and Alexander (1982): Awards". Swedish Film Institute. from the original on 12 December 2017. Retrieved 11 December 2017.
  151. ^ . Movies & TV Dept. The New York Times. 2010. Archived from the original on 23 February 2010. Retrieved 1 January 2009.
  152. ^ "Fanny & Alexander". Hollywood Foreign Press Association. from the original on 12 December 2017. Retrieved 11 December 2017.
  153. ^ . Los Angeles Film Critics Association. Archived from the original on 3 March 2016. Retrieved 11 December 2017.
  154. ^ "1983 Award Winners". National Board of Review. from the original on 7 December 2016. Retrieved 17 November 2016.
  155. ^ "Critics Pick 'Endearment'". The New York Times. 22 December 1983. from the original on 12 December 2017. Retrieved 11 December 2017.
  156. ^ Steene 2005, p. 343.
  157. ^ Blair, Iain (9 August 1992). "With 'Best Intentions'". Chicago Tribune. from the original on 14 December 2017. Retrieved 13 December 2017.
  158. ^ Canby, Vincent (3 April 1993). "Review/Film Festival; A Bergman Memoir By Son and Father". The New York Times. from the original on 15 December 2017. Retrieved 15 December 2017.
  159. ^ Gado 1986, pp. 281–282.
  160. ^ "Stamps to Salute Ingmar Bergman". The New York Times. 8 October 2007. from the original on 15 December 2017. Retrieved 14 December 2017.
  161. ^ Stanelius, Patrick (4 November 2017). . Enköpings Posten (in Swedish). Archived from the original on 1 December 2017. Retrieved 21 November 2017.
  162. ^ "Fanny och Alexander till Uppsala". Svenska Dagbladet (in Swedish). 10 April 2012. from the original on 14 December 2017. Retrieved 14 December 2017.
  163. ^ Marks, Peter (8 March 2013). "An exuberant 'Fanny and Alexander' at the Kennedy Center". The Washington Post. from the original on 29 December 2017. Retrieved 13 December 2017.
  164. ^ "'Fanny och Alexander' till Finland". Svenska Dagbladet (in Swedish). 22 March 2010. from the original on 15 December 2017. Retrieved 14 December 2017.
  165. ^ "'Fanny och Alexander' största succén". Svenska Dagbladet (in Swedish). 18 March 2010. from the original on 14 December 2017. Retrieved 14 December 2017.
  166. ^ "Fanny & Alexander". Time Out. 24 October 2017. from the original on 14 December 2017. Retrieved 14 December 2017.
  167. ^ "Bong Joon-ho's Top 10". The Criterion Collection. 18 December 2013. Retrieved 9 June 2020.
  168. ^ Tola, Yonca (5 October 2015). "Interview: Arnaud Desplechin". Film Comment. Retrieved 9 June 2020.
  169. ^ "Barry Jenkins' Favourite Films:24 Classics Loved By the "Moonlight" Director". IndieWire. 31 May 2017.
  170. ^ "Director Barry Jenkins' 14 Favourite Films from Criterion Collection". no film school. 2 June 2017.
  171. ^ Lee Thomas-Mason (12 January 2021). "From Stanley Kubrick to Martin Scorsese: Akira Kurosawa once named his top 100 favourite films of all time". Far Out. Far Out Magazine. Retrieved 10 June 2021.
  172. ^ . Archived from the original on 27 March 2010.

General bibliography edit

  • Brady, Ben; Lee, Lance (1988). "Dialogue, Theme, Values, and Moral Urgency". The Understructure of Writing for Film and Television. Austin: University of Texas Press. ISBN 978-0-292-78515-1.
  • Chabrol, Marguerite (2015). "The Return of Theatricality in French Cinema". In Alistair Fox; Michel Marie; Raphaelle Moine; Hilary Radner (eds.). A Companion to Contemporary French Cinema. John Wiley & Sons. ISBN 978-1-118-58536-8.
  • Cohen-Shalev, Amir (2009). Visions of Aging: Images of the Elderly in Film. Brighton and Portland: Apollo Books. ISBN 978-1-84519-280-8.
  • Gado, Frank (1986). The Passion of Ingmar Bergman. Duke University Press. ISBN 978-0-822-30586-6.
  • Gervais, Marc (1999). Ingmar Bergman: Magician and Prophet. Montreal, Kingston, London and Ithaca: McGill-Queen's Press — MQUP. ISBN 978-0-7735-1843-8.
  • Haenni, Sabine; Barrow, Sarah; White, John, eds. (2014). The Routledge Encyclopedia of Films (Revised ed.). Routledge. ISBN 978-1-317-68261-5.
  • Haverty, Linda (1988). "Strindbergman: The Problem of Filming Autobiography in Bergman's Fanny and Alexander". Literature Film Quarterly. 16 (3).
  • Hayes, Jarrod (1997). "The Seduction of Alexander Behind the Postmodern Door: Ingmar Bergman and Baudrillard's 'De la séduction.'". Literature Film Quarterly. 25 (1).
  • Hubner, Laura (2007). The Films of Ingmar Bergman: Illusions of Light and Darkness. Springer. ISBN 978-0230801387.
  • Humphrey, Daniel (2013). "Conclusion". Queer Bergman: Sexuality, Gender, and the European Art Cinema. Austin: University of Texas Press. ISBN 978-0292743786.
  • Kael, Pauline (2011). 5001 Nights at the Movies. New York: Henry Holt and Company. ISBN 978-1250033574.
  • Kehr, Dave (2017). Movies That Mattered: More Reviews from a Transformative Decade. University of Chicago Press. ISBN 978-0226495682.
  • Luko, Alexis (2015). Sonatas, Screams, and Silence: Music and Sound in the Films of Ingmar Bergman. Routledge. ISBN 978-1135022747.
  • Macnab, Geoffrey (2009). Ingmar Bergman: The Life and Films of the Last Great European Director. London and New York: I.B.Tauris. ISBN 978-0230801387.
  • Maltin, Leonard (2014). Leonard Maltin's 2015 Movie Guide: The Modern Era. Penguin. ISBN 978-0698183612.
  • Marker, Lise-Lone; Marker, Frederick J. (1992). Ingmar Bergman: A Life in the Theater. Cambridge University Press. ISBN 978-0-521-42121-8.
  • Nyberg, Viveka (2005). "Shadows of the parental couple: oedipal themes in Bergman's Fanny and Alexander". In Francis Grier (ed.). Oedipus and the Couple. London and New York: Karnac Books. ISBN 1855759225.
  • O'Sullivan, Sean (2014). "Ingmar Bergman, Showrunner". In Rob Allen; Thijs van den Berg (eds.). Serialization in Popular Culture. New York and London: Routledge. ISBN 978-1134492053.
  • Perridon, Harry (1998). Strindberg, Ibsen & Bergman: Essays on Scandinavian Film and Drama Offered to Egil Törnqvist on the Occasion of His 65th Birthday. Shaker Publishing. ISBN 9042300310.
  • Qvist, Per Olov; von Bagh, Peter (2000). Guide to the Cinema of Sweden and Finland. Greenwood Publishing Group. ISBN 0313303770.
  • Robertson, Patrick (1991). Guinness Book of Movie Facts and Feats (4 ed.). New York: Abbeville Press. ISBN 1558592369.
  • Rokem, Freddie (2012). "'Has this thing appeared again tonight?': Deus ex Machina and Other Theatrical Interventions of the Supernatural". In Dick Houtman; Birgit Meyer (eds.). Things: Religion and the Question of Materiality. Fordham University Press. ISBN 978-0823239450.
  • Scott-Douglass, Amy (2004). "Dogme Shakespeare". In Richard Burt; Lynda E. Boose (eds.). Shakespeare, The Movie II: Popularizing the Plays on Film, TV, Video and DVD. Routledge. ISBN 1134457006.
  • Segrave, Kerry (2004). Foreign Films in America: A History. Jefferson, North Carolina and London: McFarland & Company Publishers. ISBN 0786481625.
  • Shargel, Raphael (2007). Ingmar Bergman: Interviews. University Press of Mississippi. ISBN 978-1578062188.
  • Sitney, P. Adams (2014). The Cinema of Poetry. Oxford and New York: Oxford University Press. ISBN 978-0199337040.
  • Steene, Birgitta (2005). Ingmar Bergman: A Reference Guide. Amsterdam: Amsterdam University Press. ISBN 9053564063.
  • Sundholm, John (2012). Historical Dictionary of Scandinavian Cinema. Scarecrow Press. ISBN 978-0810855243.
  • Timm, Mikael (2012). "A Filmmaker in the Borderland: Bergman and Cultural Traditions". In Roger W. Oliver (ed.). Ingmar Bergman: An Artist's Journey. Skyhorse Publishing, Inc. ISBN 978-1628720037.
  • Törnqvist, Egil (1995). Between Stage and Screen: Ingmar Bergman Directs. Amsterdam University Press. ISBN 9053561714.
  • Udovic, Ana (2014). Generation Ego: Att fostras i en narcissistisk kultur (in Swedish). Ordfront. ISBN 978-9174414462.
  • Vermilye, Jerry (2006). Ingmar Bergman: His Life and Films. Jefferson, North Carolina and London: McFarland & Company Publishers. ISBN 1476612706.
  • Weinstein, Arnold L. (2008). Northern Arts: The Breakthrough of Scandinavian Literature and Art, from Ibsen to Bergman. Princeton University Press. ISBN 978-0691125442.
  • Wood, Robin; Lippe, Richard (2012). "Call Me Ishmael: Fanny and Alexander". Ingmar Bergman: New Edition. Detroit: Wayne State University Press. ISBN 978-0814338063.
  • Wright, Rochelle (2005). "'Immigrant Film' in Sweden at the Millennium". In Andrew K. Nestingen; Trevor Glen Elkington (eds.). Transnational Cinema in a Global North: Nordic Cinema in Transition. Wayne State University Press. ISBN 0814332439.
  • Zavarzadeh, Mas'ud (1991). "The Political Economy of Art: Ingmar Bergman's Fanny and Alexander". Seeing Films Politically. State University of New York Press. ISBN 0791405265.

External links edit

January 01, 1970
fanny, alexander, swedish, fanny, alexander, 1982, period, drama, film, written, directed, ingmar, bergman, plot, focuses, siblings, their, large, family, uppsala, sweden, during, first, decade, twentieth, century, following, death, children, father, allan, ed. Fanny and Alexander Swedish Fanny och Alexander is a 1982 period drama film written and directed by Ingmar Bergman The plot focuses on two siblings and their large family in Uppsala a Sweden during the first decade of the twentieth century Following the death of the children s father Allan Edwall their mother Ewa Froling remarries a prominent bishop Jan Malmsjo who becomes abusive towards Alexander for his vivid imagination Fanny and AlexanderOriginal Swedish release posterDirected byIngmar BergmanWritten byIngmar BergmanProduced byJorn DonnerStarringPernilla Allwin Bertil Guve Jan Malmsjo Borje Ahlstedt Anna Bergman Gunn Wallgren Kristina Adolphson Erland Josephson Mats Bergman Jarl KulleCinematographySven NykvistEdited bySylvia IngemarssonMusic byDaniel BellProductioncompaniesCinematograph 1 Sveriges Television 1 Gaumont International 2 Personafilm 1 Tobis Film 1 Swedish Film Institute 1 Distributed bySandrew Film amp Teater Sweden 3 Gaumont France Tobis Film Germany 4 Release dates17 December 1982 1982 12 17 Sweden 1 9 March 1983 1983 03 09 France 5 8 October 1983 1983 10 08 West Germany 6 Running timeTV miniseries 312 minutes Theatrical film 188 minutes 7 CountriesSweden France West Germany 8 LanguagesSwedish GermanBudgetUS 6 million 9 Box officeUS 6 7 million 8 Bergman intended Fanny and Alexander to be his final picture before retiring and his script is semi autobiographical The characters Alexander Fanny and stepfather Edvard are based on himself his sister Margareta and his father Erik Bergman respectively Many of the scenes were filmed on location in Uppsala The documentary film The Making of Fanny and Alexander was made simultaneously with the feature and chronicles its production The production was originally conceived as a television miniseries and cut in that version spanning 312 minutes a 188 minute cut version was created later for cinematic release although this version was in fact the one to be released first The television version has since been released as a complete film and both versions have been shown in theaters throughout the world The 312 minute cut is one of the longest cinematic films in history The theatrical version was released to universal critical acclaim It won four Academy Awards including for Best Foreign Language Film three Guldbagge Awards including Best Film and other honours Fanny and Alexander was followed by stage adaptations and further semi autobiographical screenplays by Bergman released as films in 1992 The Best Intentions directed by Bille August and Sunday s Children directed by Daniel Bergman On both reviews websites Rotten Tomatoes and Metacritic it is the highest reviewed movie of the 80s and since then it has been regarded as one of Bergman s finest works the best movie of the 1982 of the 1980s of the 20th century of all time as well one of the greatest Swedish films ever made Contents 1 Plot 2 Cast 3 Production 3 1 Development 3 2 Casting 3 3 Pre production 3 4 Filming 4 Themes and interpretations 4 1 Magic and reality 4 2 Family conflict 4 3 Christianity and Judaism 5 Release 6 Reception 6 1 Box office 6 2 Critical reception 6 3 Accolades 7 Legacy 8 See also 9 Explanatory notes 10 References 10 1 Citations 10 2 General bibliography 11 External linksPlot editIn 1907 young Alexander his sister Fanny and their well to do family the Ekdahls live in a Swedish town running a moderately profitable theatre At Christmastime the Ekdahls hold a Nativity play and later a large Christmas party The siblings parents Emilie and Oscar are happily married until Oscar suddenly dies from a stroke Shortly thereafter Emilie marries Edvard Vergerus the local bishop and a widower and moves into his home where he lives with his mother sister aunt and maids Emilie initially expects that she will be able to carry over the free joyful qualities of her previous home into the marriage but realises that Edvard s harsh authoritarian policies are unshakable The relationship between the bishop and Alexander is especially cold as Alexander invents stories for which Edvard punishes him severely As a result Emilie asks for a divorce which Edvard will not consent to though she may leave the marriage this would be legally considered desertion placing the children in his custody Meanwhile the rest of the Ekdahl family has begun to worry about their condition and Emilie secretly visits her former mother in law Helena revealing she is pregnant During Emilie s absence Edvard confines the children to their bedroom ostensibly for their safety There Alexander shares a story claiming he was visited by the ghosts of the Vergerus family who revealed the bishop was responsible for their deaths The maid Justina reports the story to Edvard who responds with corporal punishment After Emilie returns the Ekdahl family friend Isak Jacobi helps smuggle the children from the house They live temporarily with Isak and his nephews in their store Emilie s former brothers in law confront Edvard to negotiate a divorce using the children the bishop s debts and the threat of a public scandal for leverage but Edvard is unmoved Emilie now in the later stages of her pregnancy refuses to restore the children to Edvard s home Emilie allows Edvard to drink a large dosage of her bromide sedative She explains to him as the medication takes effect that she intends to flee the home as he sleeps He threatens to follow her family and ruin their lives but falls unconscious After she escapes Edvard s dying Aunt Elsa accidentally overturns a gas lamp setting her bedclothes nightgown and hair on fire Engulfed in flames she runs through the house seeking Edvard s help but he too is set aflame Although partially incapacitated by the sedative he is able to disentangle himself from Aunt Elsa but is badly burned and dies shortly thereafter Alexander had fantasised about his stepfather s death while living with Isak and his nephews Aron and Ismael Retzinsky The mysterious Ismael explains that fantasy can become true as he dreams it The Ekdahl family reunites for the christening celebration of Emilie s and the late bishop s daughter as well as the extra marital daughter of Alexander s uncle Gustav Adolf and the family maid Maj Alexander encounters the ghost of the bishop who knocks him to the floor and tells him that he will never be free Emilie having inherited the theatre hands Helena a copy of August Strindberg s play A Dream Play to read and tells her that they should perform it together onstage Initially scoffing at the idea and declaring Strindberg a misogynist Helena takes to the idea and begins reading it to a sleeping Alexander Cast edit nbsp nbsp Allan Edwall and Ewa Froling star as parents Oscar and Emilie Ekdahl The cast consists of 7 The Ekdahl house Gunn Wallgren as Helena Ekdahl grandmother Jarl Kulle as Gustav Adolf Ekdahl Mona Malm as Alma Ekdahl Gustav s wife Angelica Wallgren as Eva Ekdahl Gustav and Almas daughter Maria Granlund as Petra Kristian Almgren as Putte Emelie Werko as Jenny Allan Edwall as Oscar Ekdahl Ewa Froling as Emilie Ekdahl Oscar s wife Bertil Guve as Alexander Ekdahl Pernilla Allwin as Fanny Ekdahl Borje Ahlstedt as Carl Ekdahl Christina Schollin as Lydia Ekdahl Carl s wife Sonya Hedenbratt as Aunt Emma Kabi Laretei as Aunt Anna von Bohlen Majlis Granlund as Miss Vega Svea Holst as Miss Ester Kristina Adolphson as Siri Siv Ericks as Alida Inga Alenius as Lisen Eva von Hanno as Berta Pernilla August as Maj Lena Olin as Rosa Gosta Pruzelius as Dr Furstenberg Hans Straat as priest Carl Billquist as Jespersson police officer Axel Duberg as witness Olle Hilding as priest in the epilogue The Bishop s house Jan Malmsjo as Bishop Edvard Vergerus Kerstin Tidelius as Henrietta Vergerus Hans Henrik Lerfeldt as Elsa Bergius Marianne Aminoff as Blenda Vergerus Harriet Andersson as Justina Linda Kruger as Pauline Pernilla Wahlgren as Esmeralda Peter Stormare as young man Jacobi s house Erland Josephson as Isak Jacobi Stina Ekblad as Ismael Retzinsky Mats Bergman as Aron Retzinsky Gerd Andersson as Japanese woman The Theatre Gunnar Bjornstrand as Filip Landahl Heinz Hopf as Tomas Graal Sune Mangs as Mr Salenius Nils Brandt as Mr Morsing Per Mattsson as Mikael Bergman Anna Bergman as Hanna Schwartz Licka Sjoman as Grete Holm Ernst Gunther as Rector Magnificus Hugo Hasslo as the singerProduction editDevelopment edit nbsp Bergman s screenplay Director Ingmar Bergman conceived of Fanny and Alexander while working on his 1980 film From the Life of the Marionettes and wrote the screenplay at Faro in summer 1979 15 Bergman intended Fanny and Alexander to be his last feature film 16 but he wrote several screenplays afterwards and directed for television He told the press he decided to retire because I don t have the strength any more neither psychologically nor physically 17 The screenplay was semi autobiographical attempting to portray Bergman s fondest memories in what he called a happy and privileged childhood Alexander himself was meant as a representation of the young Ingmar 18 His recollections of his grandmother s home were a particular inspiration 19 He commented on his boyhood It was difficult to differentiate between what was fantasy and what was considered real If I made an effort I was perhaps able to make reality stay real But for instance there were ghosts and specters What should I do with them And the sagas were they real 20 Bergman also recalled receiving his own magic lantern at age 10 from his aunt 21 in his autobiography he described it as personally significant and previously depicted a magic lantern in his 1972 Cries and Whispers 22 However the Ekdahls do not entirely match the Bergmans 18 Ingmar s relationship with his sister Margareta during their shared childhood is depicted through the character Fanny who is included in the title though she is not as large a character as Alexander 23 Bergman had previously modeled characters after his mother Karin Akerblom as simultaneously virgin and seductress Emilie also fits that self contradictory design 23 b Margareta and Ingmar s father was the strict Erik Bergman a Lutheran pastor 17 26 Edvard is based on Erik and like Edvard Erik was raised in a family almost completely made up of women 27 Erik and Ingmar also often conflicted over truth and honesty much as Edvard and Alexander do 28 The story Alexander tells of being sold to a circus resembles one Ingmar had told as a boy and he was accosted by Erik much as Edvard lectures Alexander 29 However Bergman also stated that It has been suggested that 12 year old Alexander is my alter ego But this is not quite true Fanny and Alexander is a story the chronicle of a middle class perhaps upper middle class family sticking closely together There s a lot of me in the Bishop rather than in Alexander He is haunted by his own devils 30 Bergman proposed the project to producer Jorn Donner who said he could provide the budget if all production and costume design crew would be Swedish Bergman initially doubted that Sweden alone had the manpower but eventually caved Donner said 31 The estimated budget of 40 million SEK made it the most costly Swedish film ever 32 To raise the 6 million Donner and the Swedish Film Institute partnered with the French company Gaumont and West German TV 2 Bergman completed the screenplay by October 1980 and assembled a budget of 7 million according to New York 33 Casting edit nbsp nbsp Ingmar Bergman s father Erik Bergman left provided the inspiration for the character Edvard played by Jan Malmsjo right The project was announced in October 1980 with Liv Ullmann Max von Sydow and Erland Josephson in lead roles von Sydow was cast as Edvard the bishop who Ingmar told the press resembled Erik Bergman 33 However negotiations to secure von Sydow became troubled as he continued to act more in productions beyond Sweden and as his agent demanded a larger salary 9 34 Edvard was recast with Jan Malmsjo whom Bergman had worked with before in Scenes from a Marriage 9 In 1981 Ullmann also rejected the role of Emilie due to a scheduling conflict 32 though in 2013 she remarked I still don t know why I did that 35 c Bertil Guve was 10 when cast as Alexander Bergman had seen Guve in a television film by Lasse Hallstrom and called for an audition with Guve though the boy did not know who Bergman was Bergman ultimately cast Guve without sharing the story of Fanny and Alexander with him recognising his imagination when he told a story about killing his own grandfather during the audition 38 Guve also said I asked Ingmar later why he chose me He said it was because I acted with my eyes 38 Child actress Pernilla Allwin was cast as Fanny and she and Guve regarded each other as rivals when they first met and began working Bergman identified with this sibling rivalry 39 Other actors like Harriet Andersson Gunnar Bjornstrand and Jarl Kulle had previously appeared in Bergman s filmography 9 Bjornstrand was developing Alzheimer s syndrome making it difficult for him to memorise his dialogue but he was still awarded a small role 34 Veteran actress Gunn Wallgren was cast as Helena despite the fact that she was suffering from cancer often concealing her pain during shots 40 Fanny and Alexander marked the final film appearances of both Bjornstrand and Wallgren 41 Pernilla Wallgren later August was cast out of a state school where she was studying the stage for what became her breakthrough role 42 August later explained she received a message inviting her to read the screenplay and she did not know how the filmmakers knew of her 43 She had developed an interest in acting after seeing Bergman s Cries and Whispers and wanted a part like Kari Sylwan s in a film one day 44 Bergman also cast some of his real life children including Mats Bergman as Isak s nephew Aron and Anna Bergman as Hanna Schwartz Linn Ullmann was to play Alexander s older sister Amanda but when Linn s school refused to give her a break for production her father cut the character 34 His ex wife Kabi Laretei was cast as an aunt 45 In total there were 60 characters with lines and over 1 200 extras 46 Pre production edit Art director Anna Asp was given six months before production to prepare and started by building miniature models and drawing sets 47 In creating the Ekdahl home Bergman envisioned his real life grandmother s Uppsala residence as a model She had one apartment in the residence whereas the other apartment belonged to Erik Bergman and his family 48 Asp designed Oscar and Emilie s apartment with an Art Nouveau style 48 For the bishop s house Asp sought a design that would be frightening while still being a plausible home for a man of the church and found inspiration from a photograph of a castle in a magazine 47 In designing Isak s residence Asp worked from Bergman s memory of a Jewish antiques shop owner looking for a labyrinth style 48 Costume designer Marik Vos oversaw a project requiring 250 costumes for the principal actors along with over 1 000 costumes for the extras She allowed the testing of the vast majority of fabric samples to determine how they appeared in photography with Bergman demanding to see as many of the test shots as he could 34 Vos also co ordinated colours with Asp 47 Filming edit nbsp Upplandsmuseet was used as a location Principal photography began in Uppsala Sweden 14 lasting from 7 September 1981 to 22 March 1982 3 The filmmakers began shooting around Uppsala streets which municipal leaders allowed the crew to redecorate 49 Scenes were shot in chronological order and Guve only learned the thrust of the story was his conflict with his stepfather during production 38 On the first day of photography Bergman decided to stage a pillow fight which the apprehensive Wallgren credited for putting her at ease 44 It also endeared the director to the child actors 40 Guve developed a generally amiable relationship with Bergman and later Pernilla Allwin and Allwin and Guve s habit of playing on bicycles between filming would dirty their costumes and cause the crew to rush to clean them 39 Guve also conflicted with Bergman when he laughed during a shoot at which point Bergman reprimanded him and said that it was the most outrageous the most unprofessional behaviour he had ever seen 38 While production meant full time days during the workweek Guve remained in school by spending the weekend on homework 50 Scenes were shot outside of Uppsala Cathedral with the crew conflicting with the dean over whether an antenna could be removed 49 For Edvard s house shooting moved to Upplandsmuseet Uppsala County s museum 51 For interiors the same sets in Uppsala and the Swedish Film Institute were used to portray multiple places 52 With Bergman suffering from influenza his colleagues substituted for him in shooting Oscar s funeral scene with 500 extras and a brass band 49 At one point during production a crossbeam fell over in the studio and nearly hit Bergman and cinematographer Sven Nykvist Other crew were injured in workplace accidents 9 One injury took place when a male stunt performer portraying the burning Aunt Elsa was actually burned by spilled napalm 49 Much of the production was recorded by Bergman and Arne Carlsson for the 1984 documentary The Making of Fanny and Alexander 53 Themes and interpretations editCritic Michiko Kakutani identified Fanny and Alexander as sharing marriage drama and domestic themes as his Thirst 1949 Scenes from a Marriage 1973 and From the Life of the Marionettes 19 In contrast academic Linda Haverty expressed surprise at Bergman including his use of fantastical elements such as ghosts and telepathy as they were a departure from the psychological horror of his work in the 1960s and 1970s for this Bildungsroman story 54 Professor Frank Gado argued in his 1986 book The Passion of Ingmar Bergman that Fanny and Alexander is actually two films which except that they concern members of the same family are dramatically separate entities The glow that warmed audiences radiates from only an outer layer its core is as chilling as any of Bergman s fictions 14 Magic and reality edit nbsp Gunn Wallgren in Strindberg s A Dream Play 1955 Academic Egil Tornqvist identified the character Gustav Adolf with secular merriment while Alexander and Isak inhabit a world filled with the supernatural and evil 55 Critic Dave Kehr interpreted the fairy tale style as a product of the story being told from Alexander s perspective coloured with myth and legend 56 Alexander experiences visions of ghosts or dream visions alongside everyday reality author Laura Hubner wrote 57 The sequence these visions are seen in may be significant After being punished by Edvard for telling a story about how the Vergerus family died Alexander is haunted by the ghosts of the family who deny Edvard s culpability suggesting Edvard frightened Alexander into seeing this new vision 58 Writer Mas ud Zavarzadeh rationalised Alexander s visions as a product of the character being an artist in the making Zavarzadeh further noted He is involved in the construction of a more genuine and stable reality than the one that surrounds him 59 As indicated by Gustav Adolf s final speech most of the Ekdahls do not spend much time grappling with the meaning of life 60 d Zavarzadeh also contrasted Alexander to another of his uncles Carl a scholar who relies on logic but who is reduced to an absurdity at one point entertaining the children with his flatulence 62 Tornqvist considered the surname of the characters to be inspired by Henrik Ibsen s 1884 play The Wild Duck and that it made the name Ekdal synonymous with characters who cope with illusions about reality Fanny and Alexander adds an H to Ekdal giving it an aristocratic air Tornqvist added 63 Huber cited academics Marilyn Johns Blackwell and Tornqvist in support of the point that despite the title Alexander is the lead role and Fanny is a minor character Blackwell added that imagination is largely gendered as male 64 Concurring that Fanny is a minor character Kehr further argued that Alexander influences the plot to a lesser degree than the adult characters but remains the focus in the storytelling 56 On Alexander s visions and their reality critic Roger Ebert argued Fanny and Alexander is above all the story of what Alexander understands is really happening If magic is real if ghosts can walk so be it Bergman has often allowed the supernatural into his films In another sense the events in Fanny and Alexander may be seen through the prism of the children s memories so that half understood and half forgotten events have been reconstructed into a new fable that explains their lives 10 In the end Helena reads from August Strindberg s 1902 play A Dream Play Anything can happen all is possible and probable Time and space do not exist On an insignificant foundation of reality imagination spins out and weaves new patterns 65 As with A Dream Play Fanny and Alexander explores the unreality of life itself 60 Gado suggested the quote refers to memories and imagination and that all of Bergman s filmography could be dreams forming parts of one dream 65 Family conflict edit nbsp The story references Shakespeare s Hamlet and its Ghost played by Oscar Film Quarterly essayist Jarrod Hayes concluded the conflict between Alexander and Edvard is a clash of two Titans as Edvard summons the power of an image God Alexander has the power of the Image 66 Tornqvist observed Alexander s father Oscar wears white while his stepfather Edvard wears black signifying they represent good and evil 55 Academic Amir Cohen Shalev also observed contrasts between Oscar and Edvard Oscar as well meaning loving but passive and Edvard as a far more strict man of the church in the mold of Erik Bergman Cohen Shalev argued Edvard disguises his emotional shortcomings with his bourgeois veneer and glib affected piety 67 While espousing his devotion Edvard personally may have secretly lost his belief and he conflicts with Alexander with doublethink using love to mean hate 68 Following Oscar s death Cohen Shalev argued Emilie chooses to marry Edvard because she is frightened as to how empty she is I could not understand why nothing really happened why I never felt really happy 69 The story makes multiple references to William Shakespeare s play Hamlet 70 According to Scott Douglas Alexander observes Oscar playing Hamlet s Ghost before he dies and afterward appears as a ghost while Alexander acquires a new abusive stepfather This made theatre and reality seem indistinguishable 71 Cohen Shalev argued Oscar being reduced to a ghost is his punishment for never truly living and losing his life 69 Tornqvist wrote the triangle of Alexander Emilie and Edvard is explicitly explained with Emilie s reference to Hamlet and the characters Hamlet Queen Gertrude and King Claudius Don t act Hamlet my son I m not Queen Gertrude your kind stepfather is no king of Denmark and this is not Elsinore Castle even if it does look gloomy 72 Emilie like Gertrude is also portrayed as unfaithful with Bergman s screenplay suggesting Oscar is not Alexander s biological father in the Nativity play Oscar plays Joseph 72 According to Helena Oscar fell impotent after Fanny s birth and Emilie afterward conducted circumspect affairs 73 By framing Edvard as stepfather king the story becomes a battle between infanticide and parricide where killing Edvard is associated with Alexander s artistic sexual emancipation scholar Arnold L Weinstein wrote 70 Tornqvist wrote Alexander displays an erotic attraction to his mother combined with a hatred for his stepfather referencing the Oedipus complex 72 Author Viveka Nyberg identified Oedipal themes as pervasive suggesting Alexander believes he may have killed both his father and stepfather in competition for his mother s love 74 Nyberg described Emilie as beautiful and aloof in equal measure and she cares for her children but concerns herself more with other things 73 Alexander s story of being sold to the circus reflects his feelings of his mother forsaking him 29 While Alexander appears to admire Oscar and his imagination Alexander also listens in on his parents interactions and sleeps in Maj s bed with Maj acting as stand in mother and an object of sexual desire 75 Cohen Shalev described cyclical patterns in the story the family endures seasons of distinct symbols myths and moods including death in winter and resurrections in the spring or a trip to which the protagonist experiences a test in the Valley of Tears before achieving blissful family unification 30 Edvard is also forgiven with a kind of humanity Cohen Shalev wrote as Edvard confesses his faith is a mask and his burning death mirrors his analogy of a mask that cannot be removed unless the flesh is removed as well 67 Christianity and Judaism edit nbsp Carl Larsson s Julaftonen a depiction of the Swedish Christmas in the 1900s The story opens with exploring celebrations of the Swedish Christmas which is expressed through colors sounds movements music that Cineaste critic Royal Brown called life affirming pagan Christianity This is starkly contrasted with Edvard s Christianity which is dictated by asceticism authoritarianism and concern with death with Alexander finding his new home a bare cold prison 76 Professor Freddie Rokem wrote that in contrast to Edvard s rigorous and sterile Protestantism the Ekdahl Christmas party can include the Jewish Isak as he is a dear friend of matriarch Helena Ekdahl and this friendship is utopian 77 While at Isak s his nephew Aron Retzinsky brings out a puppet of God or deus ex machina to which Alexander reacts with terror he then tries to play down that fear and is left to wonder how seriously to take the supernatural 78 Author Harry Perridon argued that when Alexander declares God is a shit he means God in Christianity associating the deity with suffering in the world After this point true miracles in Bergman s universe have to come from a different source Perridon wrote 79 The depiction of Jews in Sweden revolves around Isak which academic Rochelle Wright argues is far more nuanced than in Bergman s previous The Touch 1971 Isak is not completely assimilated but his presence in Sweden is presented as positive as he stands for imagination magic and mystery Wright wrote 80 Erland Josephson who played Isak described his performance as a stereotyped portrayal of a Jew but with mystical and tragic elements drawing on Jewish people and their history 81 Hayes argued that with its take on time and space the story hinted at Jewish mysticism and the Kabbalah The light that engulfs Isak when he screams after being beaten by Edvard calls on the light of the Kabbalah to vanquish evil Hayes hypothesised 82 The scream may have invited spiritual intervention allowing the children s escape by rendering them invisible in Isak s trunk while the children seemingly appear lying on the floor to Edvard 83 Tornqvist hypothesised that Jewish pantheism replaces Christian belief in grace and punishment in the story 72 Royal Brown argued that Isak s cabbalistic magic and animism is closer to the Ekdahls Christianity than to Edvard s 76 nbsp nbsp The Biblical Ishmael depicted in statue by Hans Peder Pedersen Dan is the namesake of Ismael played by Stina Ekblad Tornqvist identified Ismael as one of the more enigmatic features of Fanny and Alexander commenting on the character as a fusion of elements Ismael speaks the Finno Swedish language and he is androgynous being a male character played by a woman Stina Ekblad Ismael also says to Alexander Perhaps we are the same person 55 Author Daniel Humphrey also commented in Ismael s androgyny conveying queerness and foreignness but presented as spiritually identical to Alexander 84 Additionally Humphrey commented on the name with Ishmael of the Bible being a bastard son of Abraham and progenitor of the Arab people considered paradigmatic by Christians and Jews alike 84 A Dream Play author Strindberg had taken interest in the Ishmael character 85 Tornqvist also identified Ismael as matching Hamlet in education intelligence real or feigned insanity and anti social nature 55 Hayes commented on the way Ismael holds Alexander remarking it was Alexander s erotic encounter with a man a woman himself 86 Critic Robin Wood and Richard Lippe argued Ismael directly replaces Oscar dismissed by Alexander as not serving a purpose Ismael instead brings danger and sexual ambiguity Wood and Lippe observed Ismael touching Alexander and kissing Aron 87 The role of Ismael and Alexander s ritual in Edvard s death is uncertain Ismael speaks of what will happen in the future in describing Edvard s death but it can all be logically explained with a police officer informing Emilie the death is legally accidental 88 Release editActs in the long version 1 e Prologue Familjen Ekdahl firar jul The Ekdahl Family Celebrates Christmas Valnaden The Wraith Uppbrottet The Breakup Sommarens handelser The Summer s Events Demonerna The Demons Epilogue While cinematic film stock was used in production Bergman conceived of the presentation as a television miniseries 89 and there are different versions presented as a miniseries and film 90 The longer version intended for television was the original 91 After completing production Bergman had to edit the complete cut to 188 minutes for screenings in theatres regretting losing much of the fantasy material He remarked This was extremely troublesome as I had to cut into the nerves and lifeblood of the film 20 The film premiered in Stockholm on 17 December 1982 in its 188 minute theatrical cut 92 Distribution rights were sold to 30 other countries in 1982 53 It subsequently opened in France on 9 March 1983 5 West Germany on 8 October 1983 6 and the United States on 17 June 1983 32 The complete version runs 312 minutes 93 It was released in Swedish theatres in 1983 94 and screened at the 40th Venice International Film Festival in September 1983 f It subsequently aired as a miniseries on Sveriges Television in four segments and five episodes of unequal length at Bergman s demand They ran 92 40 37 60 and 90 minutes beginning 25 December 1984 3 e After debuting at the Swedish Film Institute on 16 September 1984 The Making of Fanny and Alexander aired with a television repeat of Fanny and Alexander in Sweden on 18 August 1986 53 In 1991 the Guinness Book of World Records listed the five hour version as among the longest films in history 97 The entire miniseries ran on SVT1 in Sweden on 2 August 2007 with 10 minute newscast interruption rendering it a two part version 90 The screenplay was also published as a book and translated into English in 1983 98 In Region 2 Artificial Eye released the five hour version on DVD in 2002 99 In 2011 in Region A The Criterion Collection published a Blu ray edition including the theatrical version the television version and The Making of Fanny and Alexander 100 Reception editBox office edit There were large audiences in Sweden at showings of Fanny and Alexander including at the five hour cut 101 making it the most popular box office film Bergman had in his native country 94 102 It had 374 208 admissions in France and 165 146 in Germany 103 This amounted to minimal presence in the French box office 104 Fanny and Alexander finished its run grossing 6 783 304 in North America 8 According to critic Vincent Canby s analysis the film did extremely well and had its niche audience but could not match summer blockbuster competition which dominated the top 15 spots in the box office particularly Return of the Jedi 105 In 1992 Variety ranked it the 21st highest grossing foreign film in U S box office history and the fifth highest grossing Swedish film after 1967 s I Am Curious Yellow and Elvira Madigan Dear John 1964 and My Life as a Dog 1985 106 Critical reception edit Upon its release in the U S in 1983 the theatrical version of Ingmar Bergman s Fanny and Alexander generated a wealth of controversy Bergman has always seemed to breed conflict among cineastes but Fanny and Alexander which the director announced as his final theatrical release seemed to bring the critics out in even greater force as though there were just the one remaining chance to be quoted on the subject You either loved the film or hated it and strong voices from the reviewing community lined up on either side Rick Moody The Criterion Collection 107 Upon release in Sweden the film received generally positive reviews with Expressen critic Lasse Bergstrom approving of the portrayal of the Oscarian era 53 Critic Stig Larsson assessed it as Bergman s ironic take on his past filmography 53 Jonkopings Posten posted a positive review on 7 February 1983 followed by a second critic in the same paper accusing the film of creating false joy on 21 February 108 The film ranked 10th on Cahiers du Cinema s Top 10 Films of the Year List in 1983 109 Vincent Canby s contemporary review in The New York Times described it a big dark beautiful generous family chronicle Canby also praised the cast as uniformly excellent 12 Roger Ebert awarded it four stars assessing it as a big exciting ambitious film relatable to audiences though more specific in its story than Bergman s prior studies of faith and sex 110 and named it the 4th best film of 1983 111 Variety staff called it a sumptuously produced period piece blending elegance with intimacy 112 For The Washington Post Rita Kempley found the story more cheerful than past Bergman productions highlighting Ewa Froling and comparing her to Liv Ullmann 13 In The New York Times Michiko Kakutani compared the film s generosity of vision to the comedies of William Shakespeare 19 The Nation critic Robert Hatch compared it to Shakespeare s The Tempest as a final life affirming work featuring magic with the casual authority of Prospero himself 113 Kerry Brougher denied it was Bergman s magnum opus but still said it was a thoughtful graceful beautifully filmed work 114 National Review critic John Simon wrote a negative review calling it overstuffed and expressing lack of interest in Froling and Guve as newcomers to Bergman s filmography 115 Ebert added it to his Great Movies list in 2004 hailing it as astonishingly beautiful crediting Sven Nykvist for color and warmth 10 In 2010 The Guardian ranked the film eighth in its list of 25 greatest arthouse films 116 Reviewing The Criterion Collection Blu ray Andre Dellamorte wrote that despite the five hour runtime the story was uncomplicated but always interesting 117 The Observer quoted actor Matthew Macfadyen as saying the film featured just the most extraordinary acting I d ever seen Macfadyen added that as a RADA student the film was shown as an example to follow an example of people acting with each other 118 Polish film director Agnieszka Holland also praised it in 2012 saying both children and intellectuals could enjoy it and that it gives a very vivid portrait of another era 119 In his 2015 Movie Guide Leonard Maltin gave it four stars identifying its emotions as exquisitely expressed 120 Pauline Kael wrote a more mixed review enjoying the merry atmosphere but writing the conventionality is rather shocking suggesting Bergman had moved to Victorian times to escape his usual eccentric viewpoints 121 The Guardian critic Alex Cox wrote a negative review in 2006 claiming there was no story for the first two of three hours and that the analogy to Hamlet did not hold up as Alexander knows Edvard is evil whereas Hamlet is uncertain if the Ghost is a demon and Claudius is innocent Cox had not seen the longer version but considered it might be better 122 In 1990 Fanny and Alexander was named the best film of the 1980s by Los Angeles Times by Sheila Benson 123 who called it generous ribald reflective and radiantly life affirming 124 and Michael Wilmington 125 and the third best by Newsweek critic David Ansen 123 In 1996 Fanny and Alexander was ranked at No 36 in Movieline Magazine s 100 Greatest Foreign Films 126 In 2004 The New York Times also included the film on its list of the Best 1 000 Movies Ever Made 127 Xan Brooks in The Guardian s Film Season chose the film as the eighth best arthouse film of all time He described it as an opulent family saga by turns bawdy stark and strange with a rare abundance of indelible supporting characters 128 In 2007 the film was ranked at No 23 by The Guardian s readers poll on its list of 40 greatest foreign films of all time 129 The film was Voted at No 44 on the list of 100 Greatest Films by the prominent French magazine Cahiers du cinema in 2008 130 In the British Film Institute s 2012 Sight amp Sound polls of the greatest films ever made Fanny and Alexander was 84th among critics and 16th among directors 131 In the earlier 2002 version of the list the film ranked 35th among critics 132 and 19th among directors 133 134 Also in 2002 Sight and Sound magazine invited several critics to make a list of the best films of last 25 years and Fanny and Alexander was ranked at number three 135 In 2012 the film was voted at number five on the 25 best Swedish films of all time list by a poll of 50 film critics and academics conducted by film magazine FLM 136 In 2018 the film was ranked 28th in BBC s list of The 100 greatest foreign language films 137 In 2022 edition of Sight amp Sound s Greatest films of all time list the film ranked 53rd in the director s poll 138 Fanny and Alexander has a 100 approval rating on Rotten Tomatoes based on 45 reviews with a weighted average of 9 10 The site s consensus reads Ingmar Bergman conveys the sweep of childhood with a fastidious attention to detail and sumptuous insight into human frailty in Fanny and Alexander a masterwork that crystalizes many of the directors preoccupations into a familial epic 139 On Metacritic the film has a weighted average score of 100 out of 100 based on 8 critics indicating universal acclaim 140 Accolades edit The film received six Academy Award nominations winning four including Best Foreign Language Film 141 It also received the third highest number of nominations of 1984 after Terms of Endearment and The Right Stuff both released in 1983 142 The four wins was the most any foreign language film had received at the Academy Awards to date until it tied the record with Crouching Tiger Hidden Dragon 2000 Parasite 2019 and All Quiet on the Western Front 2022 143 Fanny and Alexander marked the third and final time Bergman won Best Foreign Language Film after The Virgin Spring 1960 and Through a Glass Darkly 1961 144 Bergman did not personally attend the ceremony while working on a stage production in Munich so his award was accepted by his wife Ingrid von Rosen and Jorn Donner 143 The film won the FIPRESCI Prize at 1983 Venice Film Festival 145 It also won the French Syndicate of Cinema Critics Award for Best Foreign Film 146 Accolades for Fanny and Alexander Award Date of ceremony Category Recipient s Result Academy Awards 147 9 April 1984 Best Director Ingmar Bergman Nominated Best Original Screenplay Nominated Best Foreign Language Film Won Best Art Direction Anna Asp Won Best Cinematography Sven Nykvist Won Best Costume Design Marik Vos Lundh Won BAFTA Awards 148 1984 Film Not in the English Language Jorn Donner Ingmar Bergman Nominated Best Cinematography Sven Nykvist Won Best Costume Design Marik Vos Lundh Nominated Cesar Awards 149 3 March 1984 Best Foreign Film Ingmar Bergman Won David di Donatello Awards 150 1984 Best Foreign Film Won Best Foreign Director Won Best Foreign Screenplay Won Directors Guild of America 151 1983 Best Director Nominated Golden Globes 152 28 January 1984 Best Foreign Language Film Won Best Director Motion Picture Nominated Guldbagge Awards 150 31 October 1983 Best Film Won Best Director Won Best Actor Jarl Kulle Won Los Angeles Film Critics Association 153 17 December 1983 Best Foreign Language Film Ingmar Bergman Won Best Cinematography Sven Nykvist Won National Board of Review 154 14 December 1983 Best Foreign Language Film Ingmar Bergman Won Top Five Foreign Films Won New York Film Critics Circle 155 29 January 1984 Best Foreign Language Film Won Best Director WonLegacy editAfter ostensibly retiring from directing Bergman completed After the Rehearsal in 1984 g Bergman also conceived of a biographical project following his parents Erik and Karin Akerblom and in a press conference in August 1989 announced he planned a production that could be considered a follow up to Fanny and Alexander and his 1987 autobiography The Magic Lantern 156 The resulting 1991 92 miniseries and film The Best Intentions was directed by Bille August and won the Palme d Or at the 1992 Cannes Film Festival Bergman selected Bille August as director on condition that Fanny and Alexander actress Pernilla Wallgren star as Bergman s mother she did under the name Pernilla August 157 Critic Vincent Canby also identified Ingmar s screenplay Sunday s Children directed by Daniel Bergman and released in 1992 as a continuation of Fanny and Alexander and The Best Intentions and questioned if Ingmar had truly retired 158 Whereas Ingmar s recollections of Erik Bergman are damning in Fanny and Alexander his study of his father is far more forgiving in The Best Intentions and Sunday s Children 39 h After The Best Intentions Pernilla August played Ingmar s mother twice more in the 1996 Private Confessions and 1997 In the Presence of a Clown 42 Following Bergman s death in 2007 PostNord Sverige decided to honour the director with a postage stamp depicting him directing Fanny and Alexander 160 In the two decades following the release Fanny and Alexander decorations were also common in Swedish businesses at Jul 101 In 2017 Hallwyl Museum also exhibited costumes from Fanny and Alexander and other Bergman films 161 Stefan Larsson directed a stage adaptation of Fanny and Alexander for the Royal Dramatic Theatre which traveled to Uppsala City Theater in 2012 162 It played at the John F Kennedy Center for the Performing Arts in Washington D C in 2013 163 In 2010 stage adaptations also played in Finland directed by Maria Lundstrom and Tiina Puumalainen 164 and Norway where it was the biggest box office success in the National Theatre s history 165 Later Stephen Beresford wrote an adaptation for The Old Vic in London directed by Max Webster and starring Penelope Wilton It was scheduled to debut February 2018 166 The film has exercised considerable influence on subsequent filmmaking not only in Sweden South Korean director Bong Joon ho has listed it as one of his favourite films and stated that it has the most beautiful ending to a feature film career in the history of cinema 167 French director Arnaud Desplechin frequently cites Fanny and Alexander as a critical touchstone for his own career and has labelled his own La Vie des Morts as a complete rip off of that film He noted that I saw Fanny and Alexander and then I became a director Before I was a technician and after that film I became a director 168 Filmmaker Barry Jenkins listed Fanny and Alexander as one of his favourite films 169 170 The Japanese filmmaker Akira Kurosawa cited Fanny and Alexander as one of his favorite films 171 172 See also editList of longest films List of submissions to the 56th Academy Awards for Best Foreign Language Film List of Swedish submissions for the Academy Award for Best Foreign Language FilmExplanatory notes edit Critic Roger Ebert observed the town in the film is unnamed 10 However some publications refer to it as Bergman s own hometown Uppsala 11 12 13 Frank Gado suggests that though not identified by name the town is unmistakably Uppsala 14 Bergman also intended his 1972 Cries and Whispers as a portrait of my mother the great beloved of my childhood 24 All four female Cries and Whispers protagonists are meant to represent different aspects of her personality 25 Before the director s death in 2007 Ullmann starred in 11 of his works and became known as his muse 36 Roger Ebert remarked Bergman and Ullmann s lives have been intertwined since Persona and that s been the most important fact in Ullmann s artistic life and they also had a daughter Linn Ullmann 37 Gustav Adolf states We Ekdahls have not come into the world to see through it never think that We are not equipped for such excursions We might just as well ignore the big things Suddenly the storm howls and disaster is upon us So it shall be Therefore let us be happy while we re happy let s be kind generous affectionate and good Therefore it is necessary and not in the least shameful to take pleasure in the little world good food gentle smiles fruit trees in bloom Waltzes 61 a b The first segment combines the Prologue and The Ekdahl Family celebrates Christmas the second segment combining acts The Wraith and The Breakup totals approximately 75 minutes the third segment contains the act The Summer s Events the fourth segment combines The Demons and Epilogue 96 At the festival where the five hour Fanny and Alexander was screened Bergman accepted the Golden Lion though it was awarded for lifetime achievement rather than for Fanny and Alexander particularly and had been announced at the 1982 Festival 95 Critic Robin Wood observed After the Rehearsal was a television production and Fanny and Alexander was announced as be his last cinematic work though Fanny and Alexander was also made for television the distinctions blur Wood wrote 91 Earlier with his 1963 film Winter Light which had a clergyman protagonist Bergman took the rare step of sharing the screenplay with Erik Bergman and boasted that Erik read it three times Ingmar was possibly trying to communicate that he understood Erik though the name of the character Ericsson son of Erik may indicate the character represents Ingmar more than his father 159 References editCitations edit a b c d e f g Fanny och Alexander 1982 in Swedish Swedish Film Database Archived from the original on 14 December 2017 Retrieved 13 December 2017 a b Vermilye 2006 p 41 a b c Steene 2005 p 435 Fanny und Alexander filmportal de Retrieved 8 October 2021 a b Fanny Et Alexandre in French AlloCine Archived from the original on 24 October 2017 Retrieved 15 December 2017 a b Fanny und Alexander Filmlexikon in German Archived from the original on 16 December 2017 Retrieved 15 December 2017 a b Fanny and Alexander 1982 British Film Institute Archived from the original on 20 September 2017 Retrieved 14 December 2017 a b c Fanny and Alexander Box Office Mojo Archived from the original on 13 December 2017 Retrieved 13 December 2017 a b c d e Steffen James Fanny and Alexander Turner Classic Movies Archived from the original on 1 December 2017 Retrieved 13 December 2017 a b c Ebert Roger 5 December 2004 Fanny and Alexander RogerEbert com Archived from the original on 14 December 2017 Retrieved 13 December 2017 Haenni Barrow amp White 2014 p 231 a b Canby Vincent 17 June 1983 Movie Review Fanny and Alexander 1982 The New York Times Archived from the original on 5 November 2013 Retrieved 26 February 2012 a b Kempley Rita 1 July 1983 Bergman s Fanny and Alexander The Washington Post Archived from the original on 29 December 2017 Retrieved 13 December 2017 a b c Gado 1986 p 496 Vermilye 2006 p 42 Gado 1986 p 494 a b Baxter Brian 30 July 2007 Obituary Ingmar Bergman The Guardian Archived from the original on 11 January 2014 Retrieved 24 November 2011 a b Gado 1986 p 1 a b c Kakutani Michiko 6 June 1983 Ingmar Bergman Summing Up a Life in Film The New York Times Archived from the original on 14 December 2017 Retrieved 14 December 2017 a b Bjorkman Stig 9 November 2011 Fanny and Alexander In the World of Childhood The Criterion Collection Archived from the original on 13 December 2017 Retrieved 12 December 2017 Steene 2005 p 32 Sitney 2014 p 49 a b Gado 1986 p 498 Gado 1986 p 408 Gervais 1999 p 120 Ingmar Bergman Overview Turner Classic Movies Archived from the original on 6 December 2011 Retrieved 24 November 2011 Gado 1986 p 503 Hubner 2007 p 117 a b Nyberg 2005 p 109 a b Cohen Shalev 2009 p 76 Donner Jorn 2011 Fanny and Alexander A Bergman Tapestry Fanny and Alexander Blu ray The Criterion Collection a b c Steene 2005 p 330 a b Wolf William 27 October 1980 Face to Face with Ingmar Bergman New York Vol 13 no 42 p 37 a b c d Holmberg Jan ed Fanny and Alexander The Ingmar Bergman Foundation Archived from the original on 14 December 2017 Retrieved 13 December 2017 Thurman Judith 9 December 2013 Born Outsiders The New Yorker Archived from the original on 14 December 2017 Retrieved 13 December 2017 Shanahan Mark 20 May 2016 Liv Ullmann talks about Ingmar Bergman The Boston Globe Archived from the original on 11 October 2017 Retrieved 11 October 2017 Ebert Roger 16 February 2001 Liv Ullmann and Memories of Bergman RogerEbert com Archived from the original on 11 October 2017 Retrieved 11 October 2017 a b c d Macnab Geoffrey 30 May 2008 Memories of a child star The Guardian Archived from the original on 14 December 2017 Retrieved 13 December 2017 a b c Macnab 2009 p 210 a b Farago Katinka 2011 Fanny and Alexander A Bergman Tapestry Fanny and Alexander Blu ray in Swedish The Criterion Collection Vermilye 2006 p 164 a b Qvist amp von Bagh 2000 p 41 August Pernilla 2011 Fanny and Alexander A Bergman Tapestry Fanny and Alexander Blu ray The Criterion Collection a b Sweet Matthew 26 April 2003 Pernilla August Bergman Jesus Darth Vader I have mothered them all The Independent Archived from the original on 14 December 2017 Retrieved 13 December 2017 Vermilye 2006 p 43 O Sullivan 2014 p 116 a b c Asp Anna 2011 Fanny and Alexander A Bergman Tapestry Fanny and Alexander Blu ray The Criterion Collection a b c Set Models Fanny and Alexander Blu ray The Criterion Collection 2011 a b c d Bergman Ingmar 2011 Dokument Fanny och Alexander Fanny and Alexander Blu ray in Swedish The Criterion Collection Johnson Mary 12 December 1983 When It Comes to Hits Bergman Star Bertil Guve Thinks Baseball Not Movies People Archived from the original on 17 December 2017 Retrieved 17 December 2017 Udovic 2014 Farago Katinka Asp Anna 2011 Fanny and Alexander A Bergman Tapestry Fanny and Alexander Blu ray in Swedish The Criterion Collection a b c d e Steene 2005 p 332 Haverty 1988 p 176 a b c d Tornqvist 1995 p 185 a b Kehr 2017 p 102 Hubner 2007 p 122 Hubner 2007 pp 122 123 Zavarzadeh 1991 p 229 a b Tornqvist 1995 p 176 Gervais 1999 pp 142 143 Zavarzadeh 1991 p 232 Tornqvist 1995 p 175 Hubner 2007 p 121 a b Gado 1986 p 506 Hayes 1997 p 46 a b Cohen Shalev 2009 p 81 Brady amp Lee 1988 p 205 a b Cohen Shalev 2009 p 78 a b Weinstein 2008 p 191 Scott Douglass 2004 p 256 a b c d Tornqvist 1995 p 177 a b Nyberg 2005 p 103 Nyberg 2005 p 101 Nyberg 2005 p 105 a b Brown Royal S Summer 2005 Fanny and Alexander Cineaste Vol 30 no 3 p 76 Rokem 2012 pp 128 129 Rokem 2012 p 129 Perridon 1998 p 185 Wright 2005 p 59 Josephson Erland 2011 Fanny and Alexander A Bergman Tapestry Fanny and Alexander Blu ray in Swedish The Criterion Collection Hayes 1997 p 43 Luko 2015 p 196 a b Humphrey 2013 pp 183 184 Haverty 1988 p 178 Hayes 1997 p 44 Wood amp Lippe 2012 p 250 Haverty 1988 p 179 Gervais 1999 p 224 a b Waltenberg Lilith 3 August 2007 Bergman film for mastig att visas utan paus Sydsvenskan in Swedish Archived from the original on 17 October 2017 Retrieved 15 December 2017 a b Wood amp Lippe 2012 p 245 Marker amp Marker 1992 p 305 Shargel 2007 p xlviii a b Sundholm 2012 p 149 Steene 2005 p 1041 O Sullivan 2014 p 112 Robertson 1991 p 19 Deutelbaum Marshall 1 February 1983 Theater Library Journal Vol 108 no 3 p 219 Mackie Rob 8 March 2002 Fluffy love The Guardian Archived from the original on 16 December 2017 Retrieved 15 December 2017 Cabin Chris 10 November 2011 Fanny and Alexander Slant Magazine Archived from the original on 13 December 2017 Retrieved 15 December 2017 a b Timm 2012 pp 127 137 Vermilye 2006 p 162 Fanny Et Alexandre JP s Box Office Archived from the original on 12 August 2014 Retrieved 17 December 2017 Chabrol 2015 p 509 Canby Vincent 18 September 1983 Film View At The Box Office Summer Has A Split Personality The New York Times Archived from the original on 24 May 2015 Retrieved 17 December 2017 Segrave 2004 pp 213 214 Moody Rick 15 November 2004 Fanny and Alexander Bergman s Bildungsroman The Criterion Collection Archived from the original on 7 June 2012 Retrieved 26 February 2012 Steene 2005 p 333 Johnson Eric C Cahiers du Cinema Top Ten Lists 1951 2009 alumnus caltech edu Archived from the original on 27 March 2012 Retrieved 17 December 2017 Ebert Roger 8 July 1983 Fanny and Alexander RogerEbert com Archived from the original on 14 December 2017 Retrieved 13 December 2017 Ebert s 10 Best Lists 1967 present Chicago Sun Times Archived from the original on September 8 2006 Staff 31 December 1981 Fanny Och Alexander Variety Archived from the original on 14 December 2017 Retrieved 13 December 2017 Hatch Robert 2 July 1983 Films The Nation Vol 237 no 1 p 27 Brougher Kerry October 1983 The Cutting Room Orange Coast Magazine p 131 Simon John 22 July 1983 Farewell Symphony National Review Vol 35 no 14 pp 887 888 Fanny and Alexander No 8 best arthouse film of all time theguardian 20 October 2010 Dellamorte Andre 28 December 2011 Fanny And Alexander Criterion Blu ray Review Collider Archived from the original on 14 December 2017 Retrieved 13 December 2017 Lamont Tom 21 August 2011 The film that changed my life Matthew Macfadyen The Observer Archived from the original on 5 November 2013 Retrieved 26 February 2012 Bowie Sell Daisy 16 March 2012 Agnieszka Holland on Fanny and Alexander The Daily Telegraph Archived from the original on 10 April 2016 Retrieved 13 December 2017 Maltin 2014 p 761 Kael 2011 p 236 Cox Alex 7 January 2006 A sentimental education The Guardian Archived from the original on 15 December 2017 Retrieved 14 December 2017 a b Weinberg Marc April 1990 The Eighties Finest Films Orange Coast Magazine Vol 16 no 4 p 189 Benson Sheila 24 December 1989 Films of the 80s Critics Recall the Best Los Angeles Times Archived from the original on 12 October 2015 Retrieved 15 December 2017 Weinberg Marc April 1990 The Eighties Finest Films Orange Coast Magazine Vol 16 no 4 p 191 100 Greatest Foreign Films by Movieline Magazine Filmsite org Retrieved 19 April 2009 The Film Critics 2004 The Best 1 000 Movies Ever Made The New York Times Archived from the original on 22 July 2016 Retrieved 13 August 2016 Brooks Xan 20 October 2010 Fanny and Alexander No 8 best arthouse film of all time The Guardian Archived from the original on 17 October 2013 Retrieved 26 February 2012 As chosen by you the greatest foreign films of all time The Guardian 11 May 2007 Cahiers du cinema s 100 Greatest Films 23 November 2008 Votes for Fanny amp Alexander British Film Institute Archived from the original on 18 January 2017 Retrieved 16 January 2017 Sight amp Sound Top Ten Poll 2002 The rest of the critics list Sight amp Sound British Film Institute Archived from the original on 15 May 2012 Retrieved 24 April 2009 Sight amp Sound 2002 Directors Greatest Films poll listal com Sight amp Sound Top Ten Poll 2002 The Rest of Director s List old bfi org uk Archived from the original on 1 February 2017 Retrieved 28 April 2021 Sight amp Sound Modern Times BFI 25 January 2012 Archived from the original on 13 October 2018 Retrieved 9 September 2012 De 25 basta svenska filmerna genom tiderna Flm in Swedish 30 August 2012 Retrieved 30 August 2012 The 100 Greatest Foreign Language Films bbc 29 October 2018 Retrieved 10 January 2021 Directors 100 Greatest Films of All Time bfi org Fanny amp Alexander 1982 Rotten Tomatoes Archived from the original on 21 December 2017 Retrieved 22 January 2021 Fanny and Alexander Metacritic Marker amp Marker 1992 p 326 Harmetz Aljean 17 February 1984 Endearment Tops Oscar Nominations The New York Times Archived from the original on 1 July 2017 Retrieved 13 December 2017 a b Vermilye 2006 p 44 Ingmar Bergman dies at 89 Variety Associated Press 3 August 2007 Archived from the original on 14 December 2017 Retrieved 21 October 2017 40th Venice Film Festival FIPRESCI SFCC Critics Award 1983 Syndicate de la Critique The 56th Academy Awards 1984 Nominees and Winners Academy of Motion Picture Arts and Sciences Archived from the original on 2 April 2015 Retrieved 27 October 2013 Film in 1984 British Academy of Film and Television Arts Archived from the original on 12 December 2017 Retrieved 11 December 2017 Prix et nominations Cesar 1984 AlloCine Archived from the original on 12 December 2017 Retrieved 11 December 2017 a b Fanny and Alexander 1982 Awards Swedish Film Institute Archived from the original on 12 December 2017 Retrieved 11 December 2017 Fanny and Alexander Movies amp TV Dept The New York Times 2010 Archived from the original on 23 February 2010 Retrieved 1 January 2009 Fanny amp Alexander Hollywood Foreign Press Association Archived from the original on 12 December 2017 Retrieved 11 December 2017 9th Annual Los Angeles Film Critics Association Awards Los Angeles Film Critics Association Archived from the original on 3 March 2016 Retrieved 11 December 2017 1983 Award Winners National Board of Review Archived from the original on 7 December 2016 Retrieved 17 November 2016 Critics Pick Endearment The New York Times 22 December 1983 Archived from the original on 12 December 2017 Retrieved 11 December 2017 Steene 2005 p 343 Blair Iain 9 August 1992 With Best Intentions Chicago Tribune Archived from the original on 14 December 2017 Retrieved 13 December 2017 Canby Vincent 3 April 1993 Review Film Festival A Bergman Memoir By Son and Father The New York Times Archived from the original on 15 December 2017 Retrieved 15 December 2017 Gado 1986 pp 281 282 Stamps to Salute Ingmar Bergman The New York Times 8 October 2007 Archived from the original on 15 December 2017 Retrieved 14 December 2017 Stanelius Patrick 4 November 2017 Bergmans kostymer visas i anrik miljo Enkopings Posten in Swedish Archived from the original on 1 December 2017 Retrieved 21 November 2017 Fanny och Alexander till Uppsala Svenska Dagbladet in Swedish 10 April 2012 Archived from the original on 14 December 2017 Retrieved 14 December 2017 Marks Peter 8 March 2013 An exuberant Fanny and Alexander at the Kennedy Center The Washington Post Archived from the original on 29 December 2017 Retrieved 13 December 2017 Fanny och Alexander till Finland Svenska Dagbladet in Swedish 22 March 2010 Archived from the original on 15 December 2017 Retrieved 14 December 2017 Fanny och Alexander storsta succen Svenska Dagbladet in Swedish 18 March 2010 Archived from the original on 14 December 2017 Retrieved 14 December 2017 Fanny amp Alexander Time Out 24 October 2017 Archived from the original on 14 December 2017 Retrieved 14 December 2017 Bong Joon ho s Top 10 The Criterion Collection 18 December 2013 Retrieved 9 June 2020 Tola Yonca 5 October 2015 Interview Arnaud Desplechin Film Comment Retrieved 9 June 2020 Barry Jenkins Favourite Films 24 Classics Loved By the Moonlight Director IndieWire 31 May 2017 Director Barry Jenkins 14 Favourite Films from Criterion Collection no film school 2 June 2017 Lee Thomas Mason 12 January 2021 From Stanley Kubrick to Martin Scorsese Akira Kurosawa once named his top 100 favourite films of all time Far Out Far Out Magazine Retrieved 10 June 2021 Akira Kurosawa s Top 100 Movies Archived from the original on 27 March 2010 General bibliography edit Brady Ben Lee Lance 1988 Dialogue Theme Values and Moral Urgency The Understructure of Writing for Film and Television Austin University of Texas Press ISBN 978 0 292 78515 1 Chabrol Marguerite 2015 The Return of Theatricality in French Cinema In Alistair Fox Michel Marie Raphaelle Moine Hilary Radner eds A Companion to Contemporary French Cinema John Wiley amp Sons ISBN 978 1 118 58536 8 Cohen Shalev Amir 2009 Visions of Aging Images of the Elderly in Film Brighton and Portland Apollo Books ISBN 978 1 84519 280 8 Gado Frank 1986 The Passion of Ingmar Bergman Duke University Press ISBN 978 0 822 30586 6 Gervais Marc 1999 Ingmar Bergman Magician and Prophet Montreal Kingston London and Ithaca McGill Queen s Press MQUP ISBN 978 0 7735 1843 8 Haenni Sabine Barrow Sarah White John eds 2014 The Routledge Encyclopedia of Films Revised ed Routledge ISBN 978 1 317 68261 5 Haverty Linda 1988 Strindbergman The Problem of Filming Autobiography in Bergman s Fanny and Alexander Literature Film Quarterly 16 3 Hayes Jarrod 1997 The Seduction of Alexander Behind the Postmodern Door Ingmar Bergman and Baudrillard s De la seduction Literature Film Quarterly 25 1 Hubner Laura 2007 The Films of Ingmar Bergman Illusions of Light and Darkness Springer ISBN 978 0230801387 Humphrey Daniel 2013 Conclusion Queer Bergman Sexuality Gender and the European Art Cinema Austin University of Texas Press ISBN 978 0292743786 Kael Pauline 2011 5001 Nights at the Movies New York Henry Holt and Company ISBN 978 1250033574 Kehr Dave 2017 Movies That Mattered More Reviews from a Transformative Decade University of Chicago Press ISBN 978 0226495682 Luko Alexis 2015 Sonatas Screams and Silence Music and Sound in the Films of Ingmar Bergman Routledge ISBN 978 1135022747 Macnab Geoffrey 2009 Ingmar Bergman The Life and Films of the Last Great European Director London and New York I B Tauris ISBN 978 0230801387 Maltin Leonard 2014 Leonard Maltin s 2015 Movie Guide The Modern Era Penguin ISBN 978 0698183612 Marker Lise Lone Marker Frederick J 1992 Ingmar Bergman A Life in the Theater Cambridge University Press ISBN 978 0 521 42121 8 Nyberg Viveka 2005 Shadows of the parental couple oedipal themes in Bergman s Fanny and Alexander In Francis Grier ed Oedipus and the Couple London and New York Karnac Books ISBN 1855759225 O Sullivan Sean 2014 Ingmar Bergman Showrunner In Rob Allen Thijs van den Berg eds Serialization in Popular Culture New York and London Routledge ISBN 978 1134492053 Perridon Harry 1998 Strindberg Ibsen amp Bergman Essays on Scandinavian Film and Drama Offered to Egil Tornqvist on the Occasion of His 65th Birthday Shaker Publishing ISBN 9042300310 Qvist Per Olov von Bagh Peter 2000 Guide to the Cinema of Sweden and Finland Greenwood Publishing Group ISBN 0313303770 Robertson Patrick 1991 Guinness Book of Movie Facts and Feats 4 ed New York Abbeville Press ISBN 1558592369 Rokem Freddie 2012 Has this thing appeared again tonight Deus ex Machina and Other Theatrical Interventions of the Supernatural In Dick Houtman Birgit Meyer eds Things Religion and the Question of Materiality Fordham University Press ISBN 978 0823239450 Scott Douglass Amy 2004 Dogme Shakespeare In Richard Burt Lynda E Boose eds Shakespeare The Movie II Popularizing the Plays on Film TV Video and DVD Routledge ISBN 1134457006 Segrave Kerry 2004 Foreign Films in America A History Jefferson North Carolina and London McFarland amp Company Publishers ISBN 0786481625 Shargel Raphael 2007 Ingmar Bergman Interviews University Press of Mississippi ISBN 978 1578062188 Sitney P Adams 2014 The Cinema of Poetry Oxford and New York Oxford University Press ISBN 978 0199337040 Steene Birgitta 2005 Ingmar Bergman A Reference Guide Amsterdam Amsterdam University Press ISBN 9053564063 Sundholm John 2012 Historical Dictionary of Scandinavian Cinema Scarecrow Press ISBN 978 0810855243 Timm Mikael 2012 A Filmmaker in the Borderland Bergman and Cultural Traditions In Roger W Oliver ed Ingmar Bergman An Artist s Journey Skyhorse Publishing Inc ISBN 978 1628720037 Tornqvist Egil 1995 Between Stage and Screen Ingmar Bergman Directs Amsterdam University Press ISBN 9053561714 Udovic Ana 2014 Generation Ego Att fostras i en narcissistisk kultur in Swedish Ordfront ISBN 978 9174414462 Vermilye Jerry 2006 Ingmar Bergman His Life and Films Jefferson North Carolina and London McFarland amp Company Publishers ISBN 1476612706 Weinstein Arnold L 2008 Northern Arts The Breakthrough of Scandinavian Literature and Art from Ibsen to Bergman Princeton University Press ISBN 978 0691125442 Wood Robin Lippe Richard 2012 Call Me Ishmael Fanny and Alexander Ingmar Bergman New Edition Detroit Wayne State University Press ISBN 978 0814338063 Wright Rochelle 2005 Immigrant Film in Sweden at the Millennium In Andrew K Nestingen Trevor Glen Elkington eds Transnational Cinema in a Global North Nordic Cinema in Transition Wayne State University Press ISBN 0814332439 Zavarzadeh Mas ud 1991 The Political Economy of Art Ingmar Bergman s Fanny and Alexander Seeing Films Politically State University of New York Press ISBN 0791405265 External links editFanny and Alexander at IMDb nbsp 188 minute cut Fanny and Alexander at IMDb nbsp miniseries 312 minute cut Fanny and Alexander at the Swedish Film Institute Database nbsp Fanny and Alexander at AllMovie Fanny and Alexander at the TCM Movie Database Fanny and Alexander at Box Office Mojo Fanny and Alexander at Rotten Tomatoes Fanny and Alexander Bergman s Bildungsroman an essay by Rick Moody at the Criterion Collection Fanny and Alexander In the World of Childhood an essay by Stig Bjorkman at the Criterion Collection Retrieved from https en wikipedia org w index php title Fanny and Alexander amp oldid 1218869503, wikipedia, wiki, book, books, library,

article

, read, download, free, free download, mp3, video, mp4, 3gp, jpg, jpeg, gif, png, picture, music, song, movie, book, game, games.