Ryan McNeil
Last week, I finally finished watching Mark Cousins’ THE STORY OF FILM: AN ODYSSEY. Since many of you who read this site are likewise watching the documentary series, I don’t need to spend too much time explaining that it is exhaustive, intricate, and illuminating. It wants to detail not only the films and filmmakers that have shaped motion pictures, but also what these artists and their art have brought out is us – the viewers.
Through its evolution, film has inspired and challenged us. It has gone from capturing moving images to telling complicated stories. It has become a living, breathing, thing – something no longer content to be watched, but something interested in watching us.
With all of this in mind, there might have been no more fitting Blind Spot Selection to follow THE STORY OF FILM with than Ingmar Bergman’s PERSONA.
If you’ve never seen PERSONA, its plot is a little tricky to describe. What you need to know is that an actress named Elisabet is admitted to a hospital after suffering some sort of mental fracture that has rendered her mute. Soon, Elisabet’s doctor is approached by a hospital administrator named Alma. Alma offers to take Elisabet up to her seaside cottage for a retreat that may do her some good.
Once there, the two women interact in ways that leaves them – and us – wondering where one ends and where the other begins.
That’s what the film is about: the plot is just that simple. What makes PERSONA so special – so very, very special – isn’t what it’s about, so much as how it is about it.
For starters, of every essential film I have watched in this series, this is the first one that is self-aware. Not only did it feel self-aware, but it was so right from the opening tip. Beginning as it does almost nightmarish, with visions of genitalia, crucifixions, and a sheep…all of it dotted with lights turning on and projectors rolling. Short of hearing Bergman yell “action” (or however one says “action” in Swedish), it’s hard to think of a more deliberate feeling of the cinematic machine ratcheting into gear than these scattershot images and the little boy who eventually becomes our focus.
Once the machine is in gear, it reminds us time after time to watch and listen.
It shows us how much emotion will be placed on the altar for us, if we only keep our mouths shut…and our ears & eyes open. It begins when we see Elisabet become so distraught at the sight of a buddhist monk setting himself on fire in protest. She sees it on television, so there should be some separation aiding her given that she’s not standing at the scene bearing witness. For Elisabet though, there is no difference. The moving image might as well be happening mere meters away so intense is the visual. What she watches is a real event, but with considering how much larger a scale film utilizes, it’s as if PERSONA wants to underline how affecting a visual can be when we give ourself over to it.
Likewise, there is Alma recounting her sexual tryst. Since Elisabet is in no position to interrupt her, she zeroes in on what Alma has to say and the raw honesty infused in every word. The story runs the gamut: from amusing, to sexy, to tragic. By making us sit and listen to Alma’s words, we are able to hear the complexity we might otherwise miss if it were peppered with score, or editing, or splashy visuals.
PERSONA wants us to listen, just as much as it wants us to watch.
Later on in the film, we learn that there is a case study happening. The relationship between the women isn’t as much caregiver and patient as it is subject and observer. Just to give an extra turn of the screw, the subject isn’t actually aware that they are being observed.
The subject isn’t all that happy about being studied, and one has to wonder if there’s a kernel of truth in there about the study of film itself?
For decades we have poured over film after film. They have been dissected frame by frame, whether they were intended to stand as pieces of entertainment or personal statements. We have critiqued these pieces of art, re-considered them, and critiqued them again. What if – and this is just a theory – we aren’t meant to study these pieces of art, we’re just meant to admire and enjoy? Is it possible that if PERSONA was in the room with a student or critic and understood that it wasn’t being soaked up so much as it was being dissected, that it would respond with the same amount of fire.
As pointed out earlier, Bergman wants us to watch and listen. Studying isn’t part of the equation.
As if to prove it, the very moment that confrontation between the characters seems imminent, the film breaks. The image breaks, tears, and eventually burns from the reel…but not before a character casts a quick and angry look right into camera. She knows. She knows that she’s being studied, just as the film knows we’re studying. There’s real instigation in this moment, stemming from the truth being revealed. What if the truth is ours to own up to? That we’re meant to feel shame in that instant; seeing something we aren’t supposed to see.
After one hour of watching the film, it has suddenly become clear that this film was watching us.
PERSONA eventually lives up to its name and makes us examine just what it is that makes us who and what we are.
These women seem to be one thing to one-another (and to us), but as their circumstances change so too does their character. At times, they seem like two halves of the same whole (helped in no small part by the way Bergman chooses to film them), but at others, they are polar opposites. They are at odds with each other, and themselves. We find ourselves wondering if we really know either one of them after ninety minutes, and likewise, if we ever know anyone. When these women decide they’ve had enough of this situation, they pack up and walk away from it (and each other). At a glance, abandoning pieces of the people we are seems curious, and then we remember that we do it every day.
We quit jobs, we move cities, we end relationships. We replace these things about ourselves and more, becoming different people to different people…drifting from persona to persona. We could study ourselves for years, watching and listening intently. Will we ever come any closer to understanding it, or will we shake off our observers with a defiant look?
PERSONA is one of the most complexed films I have watched in the nearly two years I’ve been going at this series, and likewise one of the best. In some ways, I feel like arriving at it any sooner might have been a waste, as I might well not have been ready for it.
I would have watched it without hesitation, but perhaps not noticed the way it watched me back.
I post Blind Spot entries on the final Tuesday of every month. If you are participating, drop me an email (ryanatthematineedotca) when your post is up and I’ll make sure to link to your entry.
Here’s the round-up for October so far…
Sean Kelly watched DEAD ALIVE
Will Kouf watched FREAKS
Andy Hart watched SULLIVAN’S TRAVELS
Josh watched COME AND SEE
The Void watched BATTLE ROYALE
SDG watched FRANKENSTEIN
Dan Heaton watched SERIES 7: THE CONTENDERS
Bob Turnbull watched PHANTOM OF THE OPERA and THE CREATURE FROM THE BLACK LAGOON (in a neat twist, not only was he late writing it, but I was late in linking it)
“I feel like arriving at it any sooner might have been a waste, as I might well not have been ready for it.” I feel that for any Bergman movie in general but even more so with Persona. I saw it way too early and even though I have seen it, I never felt it and since then I’ve always wondered if I am ready to watch it again. Once bitten…
It’s funny – in the past when I’ve set out to tackle directors or genres, I’ve maintained that there’s “an order” to things. I really believe that now; there’s a sequence in which we’re supposed to take things, otherwise we might find ourselves lost.
I probably should have seen more Bergman by now, but I also feel like waiting this long will bring out that much more joy for me since I’ll come to his work with a greater understanding.
I need to revisit this… because when I did watch it (about two years ago) I remember being overly unintrigued…
Watch and listen…
I’m posting mine tomorrow, hope that’s fine 🙂 But I thoroughly enjoyed your review – if you can call it that. Insightful and rather a work of art instead of being a simple reflection. I have never in my life heard anyone describe a movie as self–aware, so I’m putting Persona on a very high rank on my watchlist – or maybe the opposite, maybe I’m not ready for it yet. Thank you for the beautiful review and recommendation!
That’s totally fine hun – drop me a note or a tweet when it’s up and I’ll link it in this post.
Thanks for the kind words on this post…I actually fought with it for a while, so it’s good to hear that I won the fight.
As for PERSONA, it’s hard to say whether you’re “ready for it” or not. I know a lot of people much younger than me that watched it and came away with even more than I did. Perhaps give it 30 minutes and see if it speaks to you…just try to do so when you’re free of distraction.
I had never heard about this documentary before, it sounds very interesting and educational. His book should be good, too. I also get that feeling of having watched a movie at the wrong time in life – I’ve felt like that towards many classic films that I “forced” myself to watch, like Vertigo, and American Beauty.
I’m not sure if I’m ready for Persona, since I’ve never seen a Bergman movie, but it looks like something I could enjoy. Or maybe it’s just the way you write – you do have a compelling style, you know. Either way, Persona is on my “Now!” list, so it should happen soon!
If it helps, I’d only ever seen one BERGMAN film before this, so it’s as good an entry point into his work as any. And heck, if my writing sparked you to push it up the list, I consider that a high compliment!
As for The Story of Film, I can’t recommend it any higher. I mentioned more of my thoughts on Saturday’s watchlist post, where basically I pointed out how its both thorough and remarkably focused. Along with making one’s to-see list grow to an insane length, it also provide great insights on film and filmmakers…often tying classics in to films as recent as INCEPTION and AVATAR.
It’s on DVD and on some versions of Netflix, so track it down if you can.
Thanks for the comment Sofia – talk to you real soon!
This is right now my 2nd favorite film by Bergman with Cries & Whispers at the top of the list of films by Bergman that I’ve seen so far. It’s definitely one of his masterpieces.
Guess I know what Bergman film I’m watching next then, huh?
Great post. I haven’t seen this one, but I saw a couple of Bergman movies probably about 15 years ago, when I was a teen just getting into world film and expanding my horizons. Suffice it to say, much like you imagine yourself not getting Persona, I just couldn’t wrap my brain around Bergman’s work. The last one or two years, though, I’ve really been interested in diving in and seeing how I’d take it now. And you’ve really inspired me to do so! I’d say this is nearly a shoe-in for next year’s Blind Spot list for me.
I would imagine that at some stage in the next six months, you’ll see me go on some sort of a Bergman Bender.
Holy crap! What a great name for a band!!
Goddamn dude, that’s a helluva piece…Love the way the film allowed you to let your mind wander into general film studies and the nature of our personality. It’s kinda breathtaking at times, ain’t it?
And that monologue about her tryst on the beach…Possibly one of the sexiest things ever put on film. Not just due to the details, but (as you said) because of the way she told it. She sure had my attention…
I’ll get my own spot up tonight or tomorrow. Been building furniture in the basement, painting white pumpkins to look like eyeballs and doing other random house stuff. I knew I should have wrote the damn thing weeks ago when I saw the two films…
Thanks buddy – was afraid it might not read right, but given the feedback, it seems as though I hit the mark.
That monologue just floored me…one of those moments where I completely lost track of time and didn’t even bother taking a note just because I was so wrapped up in it. I know I probably already missed a chance, but I’m hopeful that Lightbox puts this on a screen sometime in the near future.
Yeah, yeah, yeah…If we were in the pub, this is the point where both of our voices would escalate in violent agreement. The monologue is absolutely mesmerizing. I’ve never seen it on a big screen either, so we should keep an eye out for it.
I have a lot of Bergman left to see too, but I’ve seen 13-14 of them and I highly recommend “Smiles Of A Summer’s Night” (a comedy – and a wonderful one at that), “Wild Strawberries” (a typical entry point for many people), “Virgin Spring”, “Seventh Seal” and the glorious “Fanny And Alexander” (the full 5 hour version). “Cries And Whisper” is great too, but I’d probably never send someone there for their first experience with Bergman…
Great post, Ryan. This is such an intriguing film yet also pretty hard to crack. I’m glad that you were able to check it out and had such a strong reaction to it.
I’m way behind on my blind spots post, but hope to have it finished by the weekend at least.
Color me intrigued to get to more Bergman! Ping me whenever your post goes up and I’ll make sure to link to it.
Great write-up Ryan, “Persona” is a personal favorite of mine. The opening sequence is some of the most hypnotic cinema I’ve seen, which I could equally say about the entire film. One thing that does puzzle me about is it isn’t mentioned more often. It’s understood that everyone who sees it, agrees that its brilliant, but I guess the trouble is getting people to sit down and actually watch it, or as you say, watch it watch you.
Also, just out of curiosity, is this the first Bergman you’ve watched since “Fanny and Alexander” last December?
What actually hypnotized me most is (strangely) something I didn’t even touch on:
The scene where we listen to that Bach concerto as Elisabet is laying in the hospital. The music keeps going and the sun slowly sets on her until she is laying in the dark. It left me with so many thoughts and emotions, and yet it’s something so simple.
As to why more people don’t actually sit down and watch (even though everyone who does comes away floored), perhaps there’s something about it that “feels like school”. I can’t put my finger on it, but there’s something about certain films that feels uninviting…and maybe for some, Persona is that film.
Then again, I have a hard enough time talking people into CITIZEN KANE sometimes, so…
And yes, the only other Bergman I have seen is FANNY & ALEXANDER. I didn’t get to him as soon as I wanted to this year. I’ll make up ground soon though, I promise.
Great review, Ryan. I really think you’re onto something when you speak about the relationship between the filmmaker and the audience analyzing the film. That hadn’t even occurred to me! I find it funny, too, that through analysis of the film the message comes out to something like “Don’t analyze film, just enjoy it.” Bergman is truly playing with his audience. I look forward to delving into more of his stuff.
See – the funny thing there with your reaction is that I’m not sure I’d use the word “enjoy”…not that I didn’t, but I just think that’s too narrow a word to describe what one feels watching a film like this. One could feel confused, saddened, inspired (and sure, enjoyment).
It’s the sort of film I just want to say: “Phones down, notebooks closed. Just watch and think”
We need more movies like this.