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274,281 Views • Mar 16, 2021 • Click to toggle off description
Ingmar Bergman is the filmmaker who I think has most extensively explored the unique potential of faces to be arranged and composed in interesting ways on screen.
// read my beginners guide to Bergman in my newsletter:
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00:00 Cinema's Untapped Potential?
01:00 The Landscape of The Face
04:21 The Art of Arranging Faces
06:44 Persona: Peak Face?
08:04 Why don't more directors do this?
10:35 but it's not right for every film
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Views : 274,281
Genre: Film & Animation
Date of upload: Mar 16, 2021 ^^
Rating : 4.985 (61/16,569 LTDR)
RYD date created : 2022-04-09T10:41:51.058752Z
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YouTube Comments - 405 Comments
Top Comments of this video!! :3
It helps when you're filming faces like Liv Ulman, Bibi Anderson, and Max Von Sydow !
189 |
Read the title and thought "I swear, if this isn't about Bergman, I'm throwing hands"
Greatest filmmaker of all time for me
285 |
Ebert framed a great review of Bergman's Through a Glass Darkly through Bergman's use of faces. This passage in particular has always stood out to me: "Frequently Bergman uses what I think of as "the basic Bergman two-shot," which is a reductive term for a strategy of great power. He places two faces on the screen, in very close physical juxtaposition, but the characters are not looking at each other. Each is focused on some unspecified point off-screen, each is looking in a different direction. They are so close, and yet so separated. It is the visual equivalent of the fundamental belief of his cinema: That we try to reach out to one another, but more often than not are held back by compulsions within ourselves."
84 |
that profile shot for the sponsor read is exquisite
133 |
Thomas, you're consistently one of my favorite channels. This is not content. This is something much more valuable. Great job.
319 |
"La passion de Jeanne d'Arc" from 1928 was probably the movie in which the faces have the most impact for me in a movie, it's much more raw and vivid. Bergman was much more intellectual with the use of faces.
l.e.: Dreyer was a influence in the life of Bergman, I'm sure.
170 |
I love movies where you could pause any frame in the film and you can use that frame as a wallpaper. The attention to detail is just so excelent.
22 |
Bergman’s focus on faces is most comparable to me with Kurosawa’s attention to body language. Both directors liked to use wide shots or frames containing all the characters in a scene, but Kurosawa used the physical posture and movements of his actors to convey emotion compared to the much more subtle facial acting in Bergman’s works.
Also, both directors reused a handful of actors many times to great effect, notably Liv Ullmann and Max von Sydow for Bergman, and Toshiro Mifune and Takashi Shimura for Kurosawa.
62 |
Bergman, nice! Another great video :)
270 |
Persona is such a masterpiece of showing faces. The way the overlapping faces add to the complex and surreal themes of identity, depression and loneliness. At times their faces almost seem to morph into one, including in the you-know-what scene. Astounding video as always
38 |
American cinema is by and large afraid of the face. If you time the length of the of close up in Hollywood films they usually last under a five seconds. We are given the illusion of seeing faces. But only because of the extreme close ups. The final shot of Juliette Binoche in Kieslowski's Three Colors: Blue lasts an entire minute. There are few American films with that much courage.
397 |
This reminds me of another great director who emphasised on faces, Sergio Leone. Every face of his is a map, a landscape matching the rugged environment shrouding his Westerns. Great video as usual.
29 |
Bergman directs his film in such a special way. I need at least an hour after every film to find back to myself. Those pictures (he creates) are quite haunting.
126 |
Please note the legendary Swedish actor/director Victor Sjöström at 2:10. Bergman payed homage to him by giving him the lead in Wild Strawberries. His 1921 film The Phantom Carriage is one of my absolute favorites, it centers around an old drunk who is given a chance to atone himself after death by collecting the souls of the dead for Death himself. That silent movie masterpiece is kept close to my heart since seeing it one afternoon in the seventies when l was 7 years old.
34 |
More than filming faces, Bergman was also a master at exploring relationships and the human condition/psyche with all its shame, bleakness, trauma, euphoria and bliss. And what better to express these emotions than the human face, through his natural gift for composition and shotmaking. His own troubled life gave him a certain insight into humanity that was unique. His movies, practically every single one of them, are masterpieces.
4 |
Great video. I became so fascinated with these films while working as a projectionist at the Pacific Film Archive as a student that I ended up applying to the film school in Stockholm. They didn’t want to allow me to come and it was Sven Nykvist who made it happen. He took me along during some of the filming of Tarkovsky’s “The Sacrifice “. I think back about how fortunate I was to learn cinematography from those artists. I’m glad some young people still appreciate these films.
16 |
I’m a portrait photographer starting to learn about cinematography. This video was informative, engaging and inspiring. Great job.
11 |
It's been awhile since the last time I've watched a Bergman film. I've always loved his aesthetic, but I never knew how to explain why.
Thank you for sharing!
28 |
Toodling over to my favorite streaming site to re-watch Wild Strawberries.
23 |
@luismarioguerrerosanchez4747
3 years ago
Just a reminder that I'm still yet to finish my homework and watch Persona, Through the Looking Glass, Cries and Whisperers and Wild Strawberries. I've only seen The Seventh Seal, any suggestions where to start?
479 |