While Bergman is the darling of the sophisticates, he is nonetheless a cinematic artist of unusual accomplishment, whose works demand a proportionately serious consideration….
The peculiar dualism of Swedish art—what might be called the "noon wine" syndrome—attains in Bergman's films its fullest significance as subjective visual rhetoric. You see in them a characteristic imagery which, with its cold radiance and crystalline gloom, seems continually to convey a perilous balance between the light-dark extremities of human emotion….
He has in fact created a theater of the film, in which landscape itself seems possessed of the power of dramatic suggestion, in which a surgically...
(The entire section is 1073 words.)