#jan malmsjö

[haveyouseenthismovie-poll]

[genevieveetguy]

I want you to know the truth, but perhaps you don't want to hear it. You're not the first. I knew it. It's the only thing you men care about—being the first.

Loving Couples (Älskande par), Mai Zetterling (1964)

[motionpicturelover]

"Fanny och Alexander" (1984) - Ingmar Bergman

(the long/complete version)

"February Film Favourites" Day 6/28

Ingmar Bergman's undisputed masterpiece. The final theatrical film he ever made, it won four Academy Awards, for a.o. "Best cinematography (Sven Nykvist) and "Best foreign language film".

I love everything about this film and cannot recommend it highly enough.

[the-blue-fairie]

(Some of) The Greatest Performances I Have Ever Seen

Since @thealmightyemprex tagged me in that "share a piece of acting that blew you away" post and it got me thinking about the best performances I have ever seen. I've now compiled this list and I wanted to share it. @ariel-seagull-wings @themousefromfantasyland @piterelizabethdevries @courtneysmovieblog @vulpinesaint

Linda Manz in Out of the Blue

An open wound of a performance that, even after a second viewing, is difficult to discuss because it is so raw in its portrayal of the effects of trauma and its devastating, empathetic hopelessness.

Isabelle Adjani in Possession

Adjani is hypnotic here. You will not be able to rip your eyes away. Every moment she is onscreen, she locks you in place and you cannot help but watch in awe.

Sheryl Lee in Fire Walk with Me

If Roger Ebert were still alive, I would hunt him down for his dismissal of this film. If the original series is all about the audience realizing that Leland is actually BOB, this film is all about Laura realizing that BOB has always been Leland. Sheryl Lee is phenomenal.

Rebecca Smart in Celia

Possibly the greatest performance from a child actor I have ever seen, and emotionally devastating. One of the few films to truly understand childhood and the trauma of existing as a child in a world that treats you as less than.

If any film gets childhood, this one does. Please, please see this film.

Emily Watson in Breaking the Waves

Lars von Trier can go fuck himself, but I still connect deeply to Watson's performance here. Nakedly vulnerable, sensitive, and heartbreaking. And a better Passion of the Christ than Mel Gibson's fucking Passion of the Christ movie.

Maria Falconetti in The Passion of Joan of Arc

Speaking of better Passion narratives in film, Falconetti's face is etched into my soul, detailed in extreme close-up that captures every glint of tears in her eyes.

Ewa Froling in Fanny and Alexander

Emilie screaming in the night over Oskar's bier has haunted me for years, and yet it is only one moment in this richly multifaceted performance. Her composure and presentment over Christmas. The confusion, shock, and horror when Oskar first collapses. The intensity of sober grief as he is dying, followed by those screams that hollow out your soul. The relatability of looking for something stable after deep grief and thinking you've found it, only to realize you have been manipulated and fighting back. The cold, ruthless defiance of a woman breaking free of abuse. The... all of it.

Emilie is done dirty in the theatrical cut. If you can see the Television Version, I implore you to watch it.

Gunn Wållgren in Fanny and Alexander

Liza, you may say, are you just going to list off every performance in Fanny and Alexander? I may not go that far, but the next few on this list will all be performances from that film. It is my favorite, after all, and I reserve the right to gush about it.

I love Ingrid Bergman, but I'm glad that Wållgren got the role. She brings an aching warmth to the role of a matriarch passing from mask to mask as she holds her family together.

Bertil Guve in Fanny and Alexander

Alexander will be haunted by phantoms long after he has grown. Another incredible performance from a child actor that I have connected with for many years now.

Jan Malmsjö in Fanny and Alexander

I love Max Von Sydow (the role of the bishop was originally written with him in mind) but he could not do what Malmsjö does here. There's an almost genial charm to him that Sydow could pull off, I guess, but it would be different... less disarming, less chilling. The kindness that does not extend to his eyes, that betrays the affectation of kindness as just that - affectation. The way his hand, extended to caress Fanny's cheek, curls into a fist when she turns from him. With just a hand gesture, without a glance at his face, we know so much.

Irene Papas in Iphigenia

Greatest final shot of all time. I'm pretty sure Agamemnon knows he's a dead man in this retelling even as he's setting foot on the ship.

Laura Dern in Inland Empire

I Do Not Know what I witnessed but I Do Know I would watch Laura Dern acting in this for another three hours, and that is a testament to an arresting performance.

[byneddiedingo]

Bertil Guve and Pernilla Allwin in Fanny and Alexander (Ingmar Bergman, 1982)

Cast: Pernilla Allwin, Bertil Guve, Jan Malmsjö, Börje Ahlstedt, Anna Bergman, Gunn Wållgren, Kristina Adolphson, Erland Josephson, Mats Bergman, Jarl Kulle. Screenplay: Ingmar Bergman. Cinematography: Sven Nykvist. Art direction: Anna Asp. Film editing: Sylvia Ingemarsson. Music: Daniel Bell.

Artists' reputations often take a severe hit as time passes: No one thinks Walter Scott was as great a novelist or poet as his contemporaries did; today, he's read only by specialists, and then often grudgingly. So it's not surprising to find people who think that the directors who revolutionized filmmaking in the 1950s and '60s, like Ingmar Bergman, Federico Fellini, and Akira Kurosawa, are mannered and overrated. Some of Bergman's early films, I think, aren't as good as the critics once said: I think, for example, that Smiles of a Summer Night (1955) is better in its incarnation as Stephen Sondheim's A Little Night Music; Wild Strawberries (1957) is a meditation on aging by someone who hasn't aged; The Virgin Spring (1960) strives for a mythic quality that the material and the medium won't bear. But in his later career, after he had ceased to be the darling of the "art houses," he made some intensely personal films that have the warmth and humanity that he could only feint at in the early ones. Critics tend to prefer his films about women, Persona (1966) and Cries & Whispers (1972), but I find him most genuine in his exploration of childhood, especially his elegant reworking of Mozart's The Magic Flute (1975), which sees the opera through childlike eyes, and Fanny and Alexander, which works with a kind of double-vision: We know what's going on in the various sexual combinations and permutations of the Ekdahl family and their lovers, but we also have the point of view of Fanny (Pernilla Allwin) and especially Alexander (Bertil Guve) to elevate them from the merely physical and sometimes sordid into the realm of mystery. If seen from the point of view of the children, this is a kind of ghost story. Alexander will carry into adulthood the experience of seeing two ghosts: one benign, his real father (Allan Edwall), and one malign, his stepfather (Jan Malmsjö). It is also a fable about two kinds of imagination: the artistic and the religious. And we know which side Bergman comes down upon rather heavily.

[clemsfilmdiary]

The Best of December 2023

Best Discovery: Eyes of Fire

Runner Up: Fanny and Alexander

Best Rewatch: Short Cuts

Close Second: Slap Shot Runners Up: The Blues Brothers, The Killing of a Chinese Bookie, Superman III, Who Framed Roger Rabbit

Most Enjoyable Fluff: No Hard Feelings

Runners Up: Broadcasting Christmas, A Dream of Christmas, Haul Out the Holly: Lit Up, Leave the World Behind, A Magical Christmas Village

Best Leading Performance: Paul Newman in Slap Shot

Runners Up: John Belushi and Dan Aykroyd in The Blues Brothers, Charles Fleischer and Bob Hoskins in Who Framed Roger Rabbit, Ben Gazzara in The Killing of a Chinese Bookie, Paul Giamatti in The Holdovers, Jennifer Lawrence in No Hard Feelings, Julianne Moore in May December, Richard Pryor and Christopher Reeve in Superman III

Best Supporting Performance (male): Jan Malmsjö in Fanny and Alexander

Runners Up: Cab Calloway and Charles Napier in The Blues Brothers, Jack Lemmon, Matthew Modine, Chris Penn and Tim Robbins in Short Cuts, Christopher Lloyd in Who Framed Roger Rabbit, Strother Martin, Michael Ontkean and Brad Sullivan in Slap Shot

Best Supporting Performance (female): Anne Archer in Short Cuts

Runners Up: Lindsay Crouse and Kathryn Walker in Slap Shot, Jennifer Jason Leigh, Julianne Moore, Annie Ross, Madeleine Stowe and Lily Tomlin in Short Cuts, Annette O'Toole, Annie Ross and Pamela Stephenson in Superman III

Most Enjoyable Ham: Meryl Streep in The Iron Lady

Runners Up: Kristin Chenoweth in 12 Men of Christmas, Marlo Thomas in A Magical Christmas Village, Cindy Williams in A Dream of Christmas

Best Mise-en-scène: Eyes of Fire

Runners Up: Fanny and Alexander, Short Cuts, Who Framed Roger Rabbit

Best Locations: The Blues Brothers (various Chicago cityscapes)

Runners Up: Eyes of Fire (wild Missouri forest and river locations), The Holdovers (wintery Massachusetts small town and campus), The Naked Spur (Colorado Rocky Mountains)

Best Score: Short Cuts (Mark Isham)

Runner Up: Eyes of Fire (Brad Fiedel)

Best Leading Hunk: Bob Hoskins in Who Framed Roger Rabbit

Runners Up: Dean Cain in Broadcasting Christmas, Ben Gazzara in The Killing of a Chinese Bookie

Best Supporting Hunk: Ralph Meeker in The Naked Spur

Runners Up: Adam Lolacher in Time for Him to Come Home for Christmas, Allan F. Nicholls in Slap Shot, Jessie Pavelka in 12 Men of Christmas

[fairytalemovies]

English translation by Michael Peverett of one variant of the Swedish fairy tale Prince Hat Under the Ground, collected by Gunnar Olof Hyltén-Cavallius and George Stephens.

This fairy tale has been filmed at least three times.

Prins Hatt under jorden (1963)

An updated version that takes place in the 1960's. Starring Jan Malmsjö, Britta Pettersson, Gunnel Broström and Edvin Adolphson among others.

Prins Hatt under jorden (1980)

While being a more 'traditional' (well...) fairy tale film, it has also a mix of both old and modern (for its time). Starring Eva Remaeus, Anders Granström, Per Eggers and Paula Brandt among others.

Prins Hatt under jorden (1987)

Tv-series in five parts, probably a simple version with still pictures. Narrated by Sven Wollter.

Beyond this, the fairy tale has also been adapted into a opera, play among other things.

[ozu-teapot]

Vita frun (The White Lady) | Arne Mattsson | 1962

[ingmar-bergman-was-sexy]

"Fanny och Alexander" + textposts

[moviesteve]

Fanny and Alexander https://bit.ly/3KqGGap Fanny and Alexander won four Academy Awards at the Oscars in 1984 and was the first foreign movie to have done so. No foreign movie has ever won more and Ingmar Bergman’s film has only been matched twice in the years since – by Crouching Tiger, Hidden Dragon (2000) and Parasite (2019). At the time … Read more

[erstwhile-punk-guerito]

[haveyouseenthismovie-poll]

[kales]

[motionpicturelover]

"Fanny och Alexander" (1982/84) - Ingmar Bergman

PROLOG (PROLOGUE):

FÖRSTA AKTEN (ACT ONE):

ANDRA AKTEN (ACT TWO):

TREDJE AKTEN (ACT THREE):

FJÄRDE AKTEN (ACT FOUR):

FEMTE AKTEN (ACT FIVE):

EPILOG (EPILOGUE):

Films I've watched in 2022 (92/210)

[flimgif]

[byneddiedingo]

Erland Josephson and Liv Ullmann in Scenes From a Marriage (Ingmar Bergman, 1973)

Cast: Liv Ullmann, Erland Josephson, Bibi Andersson, Jan Malmsjö, Gunnel LIndblom, Anita Wall, Barbro Hiort, Rossana Mariano, Lena Bergman, Wenche Foss, Bertil Norström. Screenplay: Ingmar Bergman. Cinematography: Sven Nykvist. Film editing: Siv Lundgren It's said that when the six-episode miniseries Scenes From a Marriage aired on Swedish television, it was followed by a doubling of the divorce rate in Sweden. But that way lies the post hoc ergo propter hoc fallacy. In the United States, it's best known for the 167-minute version that Bergman edited for theatrical release, which is the way it's usually seen today. Bergman focuses on what appears at the beginning to be a happy, equally partnered relationship, that of Marianne (Liv Ullmann) and Johan (Erland Josephson), which eventually succumbs to its latent instability, exposing the dynamic of every long-term commitment. Modern marriage, more easily dissolved than the ones our grandparents or great-grandparents experienced, is subjected to the searing glare of the five-times-married Bergman and found wanting. At the film's beginning, we are presented with the contrast of the relationship of Marianne and Johan with the viciously dysfunctional one of Katarina (Bibi Andersson) and Peter (Jan Malmsjö) and lulled into the expectation that the former couple have the strength to overcome the stresses that are evident: the placatory nature of Marianne, herself a divorce lawyer, and the egoism of Johan, an ambitious scientist. But the point of Scenes of a Marriage is that we have to beware of the most evident strains of our characters. Often harrowing, sometimes sexily comic, and superlatively acted, the film may be talky but it always makes me want to carve out the time to binge-watch the entire series. The 2021 American remake of the series, despite the skilled performances of Oscar Isaac and Jessica Chastain, didn't have the impact of the original.