American Cinematographer - April 2005 - 16

Fanny & Alexander
(1982)
Special Edition
1.66:1 (16x9 Enhanced)
Dolby Digital 2.0
The Criterion Collection, $59.95
Swedish

filmmaker

Ingmar
Bergman reached the apex of his rich
and prolific career with Fanny &
Alexander,

one

of the director's most

sumptuous and beloved creations. To
make the picture, the author of some of
cinema's most intimate meditations on
existential

struggle tapped his

childhood memories to create

a warm,

distinctly fanciful vision of family,
through the eyes of children.
We

are

own
seen

introduced to the Ekdahl

family in 1907, as they prepare for a
grand celebration following the perfor¬
mance of the family-owned theater
company's Christmas play. Young
Alexander (Bertil Guve) amuses
himself by prowling about the plush
rooms of his family home as his grand¬
mother's servants prepare for the Yuletide gathering. During the lengthy
Christmas

celebration,

numerous

members of the Ekdahl

family are
introduced as they consume an incred¬
ible feast and partake in festive song

minute version that

suddenly. The family mourns his pass¬
ing, and brokenhearted widow Emilie
(Ewa Froling) seeks solace in the arms
of provincial bishop Edvard Vergerus
(Jan Malmsjo), who eventually
persuades her to mam/ him. Upon hear¬
ing the news, Alexander is haunted by
the ghost of his father, and he reluc¬
tantly leaves the family home with his
mother and sister, Fanny (Pernilla
Allwin), to begin a new life in the
bishop's home. The children soon
become virtual prisoners in the bishop's
household, where religious fervor and a
Spartan lifestyle are enforced. As the
winter passes into spring and summer,

full-bodied in both the

Emilie realizes she must find

track and

a

way out

broadcast

on

Though the theatri¬
cal version is a certainly an accom¬
plished work, the longer version
expands on numerous themes and
tropes in the film, creating a more satis¬
fying experience. The widescreenenhanced picture transfers of both
versions are virtually identical in quality
and faithfully represent Nykvist's work.
Reds are deep and saturated and do not
exhibit any chroma noise, and several
levels of candlelight are clearly visible
in the shadowy halls of the Ekdahl
home. The monaural audio is clear and

of the

marriage.
Fanny & Alexander ms shot by
legendary cinematographer Sven
Nykvist, ASC (Cries and Whispers, The

was

Swedish television.

a

Disc

original Swedish
English track.
of the set presents the

dubbed
one

188-minute cut, the theatrical trailer
and an excellent, feature-length audio

commentary by film scholar Peter

Silence, Autumn Sonata), who collabo¬

Cowie. In

rated with

Bergman for nearly 25 years.
Renowned for his expert use and
manipulation of natural light, Nykvist

articulate manner, Cowie offers histori¬
cal information, production anecdotes

created

of his most memorable

and three contain the four episodes that

images for Fanny & Alexander. He and
Bergman agreed that the camerawork

vision version of the film, as well as a

some

should be mobile but

as

unobtrusive

as

possible in order to suggest the
constant curiosity of the children at the
center of the story. From meticulously
detailed, ornate interiors to

a

consistently interesting and

and theoretical observations. Discs two

comprise the 312-minute Swedish-tele39-minute documentary, A
Bergman Tapestry, containing inter¬
views with the principal actors and
new,

crew.

Also included is

a

colorful booklet

covered

featuring brief but interesting essays by
critic/filmmaker Stig Bjorkman, acade¬

are

mic Paul Arthur and novelist Rick

snow-

pastoral exteriors, the images
indelibly sharp and saturated.
Nykvist's outstanding visuals were
honored with an Academy Award, a
BSC Award and

was

also the

a

BAFTA Award. (He

recipient of the ASC Life¬

time Achievement Award in 1996.)
The Criterion Collection recently
released

an exceptional DVD presenta¬
Fanny & Alexander. Included in
five-disc package are the 188-

tion of
the

and dance.

minute version of the film that

Shortly thereafter, Alexander's
father, Oscar (Allan Edwall), dies

theatrically released and, in

a

was

first for

the U.S. home-video market, the 312-

Moody.
Disc four presents

Bergman's
feature-length documentary
The Making of Fanny & Alexander
(1983). This fascinating look at the
creative process offers an intimate
glimpse of Bergman and his working
relationships with his collaborators.
Extensive sequences of Nykvist and
Bergman blocking and finding precise
shots is some of the best footage avail¬
able that displays the intricate relationexcellent
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