In 1966 Ingmar Bergman certainly wasn't pulling any punches with this much lauded (it appears on some 'greatest ever movie' lists) and ambitious, rather short, piece of art-cinema. We found it powerful, thoughtful, exciting, and a little bit dated in some areas.
First the positives; the ambition of the montage, the wonderful use (again) of contrast. The tired whites gave a wonderful example. It is also a fasconating story, the expression of two women who may be one women, the slow bleeding (almost literal) of one to the other is evoked not through being overdone but through a pacing of story that manages to not be slow but at once take you in through the side-corridor. The repitions and so on at the end create a striking dream scape, questions ask that you are not quite sure how to phrase.
This film isn't particularly subtle, and parts of the imagery and tone can appear rather pretentious (partly as they have been over and badly used elsewhere). To a degree, everyone needs a slap. But this film does not drag itself over the audience, whenever one wants to really stick the knife in it changes, with an interesting new visual or thematic scene.
An exciting and interesting film, one we shall perhaps revisit and enjoy more. For now, we are happy to have seen it, quite simply.
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