Ingrid Bergman stars as Charlotte Andergast, a concert pianist in the autumn of her years, reflecting back on a rich, but selfish life.
Possibly hoping to redeem herself in some small way, Charlotte decides to accept a rather needy letter of invitation from her eldest daughter, Eva (Liv Ullmann), whom she has not seen in years.
Any expectation Charlotte may have had to bask in the glow of an adoring daughter, and to be forgiven all past mistakes, is quickly crushed, when upon arrival Charlotte learns Eva has taken into her home Helena (Lena Nyman), her mentally and physically handicapped younger sister, whom Charlotte had institutionalized at a young age.
Ingmar Bergman Fleshes-out Mother and Daughter Relationship
What is expected in a Bergman film is much inner-dialogue and character musings on life; but, what's unexpected in Autumn Sonata is the surprising ease of conversational dialogue; as naturally fluid words flow throughout every scene.
Bergman does a masterful job of fleshing-out both mother and daughter; as the viewer's sympathies oscillate between the desperately needy Eva, with her deep well-spring of humanity and affection, and the mother whose stubborn forcefulness initially feels hard and armored, but eventually reveals a strength of character and life-force that is lacking in her tender daughter.
Ingrid Bergman’s Sensitive Performance
In many ways, Charlotte's head-strong endurance against the slings and arrows of life, may strike many as heartless and cold, especially in contrast with daughter Eva's hair-shirted suffering.
But, either through Ingrid Bergman's sensitive performance and/or Ingmar's equally empathetic framing of the beautiful actress, one comes away understanding where Charlotte is coming from; knowing it takes a certain sobriety of consciousness to make it through a life so taxing.
Ingrid Bergman’s great performance as the egocentric artist perfectly captures the obliviousness to any and all criticism she harbors; possibly due to the fact that as an artist she received very little, and as a mother she averted it.
In one of the more powerful scenes in Autumn Sonata, Bergman asks the viewer to study the faces of Charlotte and Eva, as they each take turns playing Chopin for one another; and as each one plays, Bergman focuses on the face of the listener; leaving their respective reactions open to interpretation.
In the End, a Fragile Defense
And as Charlotte explains to Eva (and Eva takes as lecture), Chopin's music dealt with pain and suffering through beauty and longing expressions, but, was never sentimental (which could also describe Ingmar Bergman and Autumn Sonata precisely).
All the tension surrounding the mother and daughter comes to a head, as these things always do, late at night and in the wee small hours of the morning; as Eva bludgeons her neglectful mother with guilt; Charlotte accepts the blows as if she were fortified for the onslaught; knowing full-well her fate allows for no escape.
In the end, Charlotte poignantly expresses her fragile defense, on a train traveling away from her daughter’s home: I'm always homesick. But, when I get home, I find it's something else I'm longing for.
Martin G. Wood - M.G. Wood is a writer of screenplays, film and literary reviews, and poetry. M.G. Wood can often be found ...
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