Private Confessions (1996) User Reviews

Any film with Bergman involved promises much, and in delivery Private Confessions does not disappoint

[TheLittleSongbird · 8/10 · 20 January 2013]

Apart from a couple of long-winded moments and an ending that feels a little forced, this is a most excellent film and very intriguing in so many ways. Long-term Bergman collaborator Sven Nykvist is responsible for the cinematography and every shot and frame has a hauntingly beautiful atmosphere and realism to it that it is almost hypnotising to watch. The director this time round is not Bergman, but Liv Ullman, one of his best regular actresses and among the best that Sweden ever had. The directing is done very intelligently, from collaborating with Bergman for so long there is definitely an influence but it never resorts to imitation. Like Bergman as well, she does a fine job in keeping the characters and situations as compellingly real as possible, whether you're fascinated by or indifferent to them is a matter of opinion. Bergman does have a hand in it, as a writer. The structure is very autobiographical and personal, and it so incredibly honest, often painfully so, and thought provoking. The story is insightful, dealing with complex issues with such realism, and while you mayn't consider the characters likable anybody familiar with Bergman's style and know enough about what he intends in every one of his movies will argue that they weren't meant to be, and I agree. Pernilla August gives a masterful lead performance, she says little but her gestures and expressions really resonate with you, for me in that regard like a female Max Von Sydow. Sydow also stars and I can't find anything to fault him whatsoever, like August he tells much without having to do so verbally. In conclusion, an excellent film and doesn't disappoint in what it promised. 8/10 Bethany Cox

Excellent Rendering Of Bergman Story

[jhclues · 8/10 · 9 July 2000]

**CONTAINS POSSIBLE SPOILERS** Written by Ingmar Bergman and aptly directed by Liv Ullman, `Private Confessions' continues the chronicle of Bergman's parents which began with the 1992 film `The Best Intentions.' Now, twelve years into the marriage of Anna and Henrik (Pernilla August and Samuel Froler), the story unfolds through a series of five `conversations' which are actually pivotal intervals in Anna's life. The first is with her Uncle Jacob (Max von Sydow), a clergyman, and we learn of the anguish she has suffered due to her own unfaithfulness to the autocratic and demanding Henrik. Though she does not regret the affair, she realizes the precariousness of her position and the threat it poses to the well-being of her family, especially the children. Jacob tells her she must end the affair at once, and advises her to tell her husband everything. She knows how much this would hurt Henrik, and must decide whether or not to do as her Uncle insists. In the second conversation we learn the outcome of her decision. The third segment takes place two months prior to her confession. Anna arranges a rendezvous with Tomas (Thomas Hanzon), a young theology student, at the home of a friend. When it is finished, Tomas leaves her, appalled by his own inadequacies at allowing their affair to proceed at all. Anna truly loves him though, and knows that she will always be with him, at least in her own heart. The next conversation is ten years later. Jacob is dying and has asked for Anna to come to him. They have not actually spoken with one another since he advised her in the matter of her affair with Tomas. All this time he has wondered, burdened by the possible outcome of his advice, and doesn't want to go to his grave without knowing. He is relieved to learn she has not seen Tomas in ten years, and they take communion and pray together. Then, in the final segment, Anna is eighteen years old, a confirmation student of Jacobs, and we learn of her doubts concerning her faith. Jacob, her spiritual advisor, tells her she must decide for herself whether or not to take communion, and in the end we are left pondering Bergman's familiar themes of faith, suffering and the foibles of human nature he addresses so adroitly; the pain of discovering one's own loneliness; and the guilt we all seem destined to bear. Liv Ullman has done an outstanding job of rendering Bergman's material to the screen, and should be commended for eliciting exemplary performances from von Sydow, Hanzon and especially August, and for allowing them the time necessary with which to convey as much with an expression or a gesture as with words alone. These moments enable the actors to breathe life and meaning into their characters while giving credence to the morality to which those characters must adhere. `Private Confessions,' like all of Bergman's work, will make you pause and reflect on your own life and imperfections, while bringing you face to face with the reality of being mortal. I rate this one 8/10.

"Poor Anna"

[Quinoa1984 · 10/10 · 28 November 2012]

Full of deep, painful but harrowingly rewarding emotions, and a knockout performance by Pernilla August (one of those performers that does so much when seeming to do so little), and reveals Liv Ullmann as a gifted director - maybe she was the only one to direct this, as Billie August did The Best Intentions (and I may possibly, just maybe, prefer this film to Best Intentions, which this is a sequel to), since for Bergman so much is already so personal (the characters are his parents, or versions of them anyway).

But every episode is wholly rewarding, and the moments of sensual tenderness between characters are underlined by how the dialog drives things so fiercely: like the best characters written by Mr. Bergman, these people, especially Anna, Henrik and Tomas, want to find the right path but get corrupted, or just screwed up, by where their hearts lead them. It may also be one of the most mature works by this writer, as the story jumps from episode to episode in time (about five 'confessions'/conversations in all, spanning many years), as we see the bulk of the action take place when Anna had her affair, the fall-out with her husband... and then ten years later (as well as when Anna was 18) when she tells to her Uncle Jacob (Max von Sydow, who is great and who could expect otherwise, especially here as a forgiving but firm minister).

This jump isn't simply to be clever, far from it - we learn along with the characters, and time does change a lot of things. By the end, I looked back on the episodes on Private Confessions as meaning so much, for the drama they went through and that I saw, and even with an ending that appears to be 'happy', there is still a well of anguish that can always be tapped. When it comes to Bergman, by way of his great love and collaborator Liv Ullmann, romance is never, ever easy, especially when some sort of 'God' may be watching and judging. Oh, and having Bergman-regular Sven Nykvist shoot is always welcome (this was the last time he would bring light and dark to his words).

Beautifully acted, beautifully shot

[ba916 · 9/10 · 20 December 1999]

Great acting all the way down the cast list. It's easy to get involved and empathize with the heroine, to care about her and what she's going through. And that, for me, is what makes a movie great.

Great photography, too.

Arduous tale of adultery

[eek-4 · 27 January 1999]

Despite an excellent, unaffected performance by Pernilla August, Private Confessions can't escape its melodramatic premise of adultery and redemption. Written by the King of Existentialism, the film (or shall I say mini-series) is structured along five conversations, though they do not follow any chronology, which has become a cool trick to use for many young screenwriters (fragmented chronology) but Bergman uses it as memory. The writing is as intense and honest as any other Bergman film, but without much plot, tends to be long-winded. Longtime Bergman collaborators Liv Ullman and cinematographer Sven Nyvist focus on close-ups and a stationary camera to get their message across, adding to the lack of mobility in the script. After two hours of Swedish mope (not necessarily a bad thing because where else is it more appropriate) [Sorry Martin!], the wistful ending seems forced. Great scene near the end, though, where a hymn gives way to vomiting. In conclusion, a movie for Bergman fanatics (especially since the story is autobiographical) like me and for people having affairs -- not like me.