Synopsis:
On a remote Swedish island, a solitary man (Max von Sydow) helps out a grieving widow (Liv Ullmann) and soon meets the couple she’s living with — architect Elis (Erland Josephson) and his wife Eva (Bibi Andersson) Vergerus; meanwhile, as mysterious animal cruelty occurs across the island, a local man (Erik Hell) is falsely accused of being the perpetrator.

Genres, Themes, Actors, and Directors:

• Infidelity
• Ingmar Bergman Films
• Liv Ullmann Films
• Marital Problems
• Max von Sydow Films
• Widows and Widowers

Review:
The informal third film in Ingmar Bergman’s “island trilogy” — following Hour of the Wolf (1968) and Shame (1968) — was this enigmatic exploration of themes from many other Bergman films (guilt, shame, isolation), but perhaps especially — as argued by Bergman scholar Jerry Vermilye — the “thread of violence intruding on ordinary lives.” The film opens on the pastoral scene of pipe-smoking von Sydow looking out at the sun as he fixes his roof and we hear sheep bells tinkling in the backdrop.

Soon he’s on the road offering to help an odd man (Hell) pulling a cart, and we understand he’s essentially a kind individual:

… as additionally supported by his willingness to let distressed Ullmann use his phone (albeit with a bit of deceit and nosiness — he surreptitiously listens in):

… and the fact that he rescues a dog:

… checks on Andersson’s well-being when he happens upon her napping in her car:

… etc. Next, in an improvised scene, we see von Sydow and Ullmann enjoying dinner and conversation with Josephson and Andersson:

… and interpersonal webs grow ever more entangled, with first one affair occurring, then another, alongside continuous hints that none of these people are truly who they seem (then again, who is?).

The disturbing mystery of who keeps brutally harming animals; the tragic bullying of Hell; eruptions of violence and/or suspicion amongst the four key players; random flashbacks and dreams; and the mystery of what actually happened to Anna — interspersed by fourth-wall-breaking interview clips with the lead actors:

— all keep us engaged throughout, even if the ending is frustratingly inconclusive.

Note: As a Norwegian-American, I know that “slut” means “end” in Norwegian and Swedish — but it’s impossible not to read into Bergman’s choice of this term to close his film, knowing how much overt rancor he had for Ullmann as their relationship was disintegrating during the making of this movie.

Notable Performances, Qualities, and Moments:

• Max von Sydow as Andreas
  
• Liv Ullmann as Anna
  
• Sven Nykvist’s cinematography
  
• Numerous memorable moments or sequences
  

Must See?
No, though naturally it’s a must-see for Bergman completists — and worth a one-time look by those who appreciate his work. Listed as a film with Historical relevance and a Personal Recommendation in the back of Peary’s book.

Links:

• IMDb entry
• The New Republic original review (spoilers alert)
• DVD Savant Review