Winter Light (1963)

Winter Light (1963)

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“God, why have you forsaken me?”

Synopsis:
A widowed minister (Gunnar Björnstrand) struggles with his faith while navigating his relationship with a doting parishioner (Ingrid Thulin) and meeting with the pregnant wife (Gunnel Lindblom) of a suicidal father (Max von Sydow).

Genres, Themes, Actors, and Directors:

  • Christianity
  • Ingmar Bergman Films
  • Priests and Ministers
  • Scandinavian Films
  • Widows and Widowers

Review:
This second film — following Through a Glass Darkly (1961) — in Ingmar Bergman’s informal trilogy about the life-saving importance of communication and love was one of his personal favorites, carefully constructed — with crucial assistance from his DP, Sven Nykvist — with a particular vision in mind. However, its unrelenting bleakness makes it a challenging viewing experience, as we watch a seemingly rigid and cold man of faith (Björnstrand) failing to support a parishioner in need:

… while cruelly mistreating the woman (Thulin) who is devoting her life to him.

The story opens and closes on his nearly-empty church services:

… and otherwise takes place in a bitterly gray, wintry landscape.

With that said, the performances — particularly by Björnstrand in the crucial central role — are committed and convincing, making this a rewarding viewing experience for Bergman fans who can otherwise stomach its dreariness.

Notable Performances, Qualities, and Moments:

  • Gunnar Björnstrand as Tomas Ericsson
  • Sven Nykvist’s cinematography

Must See?
No, unless you’re a Bergman completist.

(Listed in 1001 Movies You Must See Before You Die)

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One thought on “Winter Light (1963)”

  1. Rewatch (8/20/21). Not must-see, only for fans of Ingmar Bergman.

    Though it may seem complex and complicated to some, the film is actually simple. Still, it’s probably most effective for what the viewer brings to the film. It’s mainly concerned with matters of communication with God – and whether or not there is a Being there to even communicate with. If the viewer hasn’t entertained or is indifferent about these concerns, he or she is likely to be bored. (For the record, I don’t dislike the film.)

    The acting is rather good, as is Nykvist’s photography.

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