Ten years of Marianne and Johan's relationship are presented. We first meet them ten years into their marriage. He is a college professor, she a divorce lawyer. They say that they are ...
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Johan and Marianne planned to finalize their divorce after several years. They met in order to sign the papers but it was an extremely difficult task to carry out. Touching a low point in his life, ...
A year had passed since Johan left Marianne. One day they got back in touch and Marianne invited Johan over for dinner. Johan received an offer of job in the US, but was not getting along well with ...
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Marianne, some thirty years after divorcing Johan, decides to visit her ex-husband at his summer home. She arrives in the middle of a family drama between Johan's son from another marriage and his granddaughter.
In the midst of a civil war, former violinists Jan and Eva Rosenberg, who have a tempestuous marriage, run a farm on a rural island. In spite of their best efforts to escape their homeland, the war impinges on every aspect of their lives.
Two estranged sisters, Ester and Anna, and Anna's 10-year-old son travel to the Central European country on the verge of war. Ester becomes seriously ill and the three of them move into a hotel in a small town called Timoka.
Ten years of Marianne and Johan's relationship are presented. We first meet them ten years into their marriage. He is a college professor, she a divorce lawyer. They say that they are happily married - unlike their friends Katarina and Peter who openly fight, especially when under the influence of alcohol - but there is a certain detached aloofness in the way they treat each other. In the next ten years, as they contemplate or embark upon divorce and/or known extramarital affairs, they come to differing understandings at each phase of their relationship of what they truly mean to each other. Regardless of if it's love or hate - between which there is a fine line - they also come to certain understandings of how they can best relate to each other, whether that be as husband and wife, friends, lovers or none of the above. Written by
Ingmar Bergman has given options to the actors and crews to choose between receiving salary or percentage share from the TV series profit. Liv Ullmann chose salary since the earlier movie Cries & Whispers (1972) of Bergman was financial failure, while Erland Josephson and other crews chose percentage share. Scenes from a Marriage (1973) ended up being internationally popular and financially successful. and according to the interview with Liv Ullmann, this was one of the things she regretted in her life. See more »
Sometimes you ask such goddamn silly questions.
Sorry. Are you angry with me?
I'm not angry, but I'm on the verge of tears. The trouble with me is that I can't get angry. I wish that for once in my life I could really lose my temper, as I sometimes feel I have every right to. I think it would change my life. But that's not the point. You spoke earlier about loneliness. That bit about being strong on your own. I don't believe in your gospel of isolation.I think it's a sign of weakness.
[...] See more »
The end credits aren't shown on-screen but read by director and writer Ingmar Bergman, while "a beautiful picture of Fårö" is shown (different for each episode). Ingmar Bergman himself is in fact not credited at all. For the theatrical version, traditional on-screen credits were used, starting with "A film by Ingmar Bergman". See more »
Concerto for violin, strings & continuo in B flat major, Op. 10, No. 1
Written by Tomaso Albinoni
A short extract is played during the very beginning and end of each episode (it's not featured in the theatrical version) See more »
At once poignant, considered, bitter, painfully insightful
Bergman set the standard for commentary on relationships with this film.
Liv Ullman & Erland Josephson are extraordinary as a couple viewed over the
course of their marriage and breakup thereof. Bergman and cinematographer
Sven Nyquist do an absolute masterful job following both -- Liv Ullman
has one of the most expressive, beautiful faces in cinema, and Bergman's
genius is that he captured every nuance of her perfect performance
Don't expect a single extraneous, out-of-place shot. Expect the perfect
cinema-plus-verite of long-term relationships that various others,
Woody Allen in his efforts (Annie Hall and onwards,) have tried to riff on
-- but never as well.
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