Bibi Andersson, Britta Brunius, Erik Hell

A man living in seclusion is visited upon by a crippled woman who, in turn, draws him into her life and her friends. Meanwhile, a homicidal killer is on the loose which adds to the tension.

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86% liked it

1,381 ratings

Critics

100% liked it

11 critics

R, 1 hr. 40 min.

Directed by: Ingmar Bergman

Release Date: January 1, 1969

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DVD Release Date: February 10, 2004

Stats: 93 reviews

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Flixster Reviews (93)


  • June 26, 2009
    "The Passion of Anna" is the third film of Ingmar Bergman's "island" trilogy, along with "Hour of the Wolf" and "Shame". It's also Bergman's second ever color film, and it's as bleak as anything in his library.

    Andreas Winkelman (Max von Sydow) lives the life of a hermit on a b...( read more)arren island. He's an ex-con, his wife has left him (the details of the marriage are left ambiguous), and he's passionate about literature. We meet him while he's working on a roof that seems to never fix, and he then wills the sun away. Shortly thereafter, a neighbor, Anna Fromm (Liv Ullman), stops by. She has a terrible limp and relies on crutches to get her around. Andreas allows her to use the phone, but she ends up leaving her purse behind. Andreas can't resist looking into it, and he discovers a note written by her husband. He speaks of the destruction of the relationship and the misery it's causing, the "physical and psychical" pain.

    Andreas and Anna begin spending time together following the chance encounter. She tells him of the car crash that killed her husband and child and left her crippled. Suspiciously, however, she tells Andreas that the marriage was satisfying. Andreas doesn't let her know that he saw the letter. Anna introduces him to her friends, an upper middle class married couple, Eva (Bibi Andersson) and Elis Vergerus (Erland Josephson). Eva is tremendously insecure, while Elis has settled in with the world's suffering and accepts it for what it is. Elis befriends Andreas by showing him boxes filled with thousands of photographs, and Eva pursues a sexual relationship with Andreas.

    Meanwhile, a strange subplot involves a psychopath on the island who has been going around and killing animals. Early in the film, Andreas hears a yelp and finds a puppy hanging from a noose. Later on, a whole group of sheep are brutally slaughtered. Finally, a horse is set on fire. The residents of the island suspect a loner, Johan (Erik Hell), due to him being incredibly reserved and without pets. Although we know that the killer isn't Johan, we never do find out who it is. One might guess it's Elis, causing the brutality and photographing it, or the disturbed Anna. The culprit is not too significant, however, as these events reflect the unacknowledged despair of those on the island.

    "The Passion of Anna" is highly successful as a brooding psychological drama, however it does falter at a few points. Bergman uses a technique in which he has the actors play themselves and discuss the characters they portray on film. While it helps us understand the characters from the screenplay's point of view, it leaves the audience with little to decide for themselves.
  • March 11, 2009
    Yet another masterpiece the the master himself, Ingmar Bergman. The Passion Of Anna is perhaps one of his most underrated and lesser known films, but it is still amazing. It was wonderful to see his biggest stars (Max Von Sydow, Liv Ullmann, and Bibi Andersson) together in one mo...( read more)vie. All three of them are terrific actors. After watching this movie, I have officially decided that Liv Ullmann is by far one of the best actresses that ever lived. Performance after performance, she is incredibly perfect. Like most Bergman films, this is a very complex film and will certainly make you think and get you in the minds of the characters. Interesting film.
  • September 29, 2008
    nominated for best foreign film by NBR
  • August 17, 2008
    The synopsis printed on flixster is laughably wrong. The actual Bergman movie is as gripping as ever, but forsakes his usual narrative simplicity (as opposed to psychological or dramatic simplicity), and seems to me now to go in too many directions at once. Still, better too many...( read more) ideas than too few.
  • July 14, 2008
    Bergman signe ici un film rebutant, mais qui vaut la peine d'être vu par quiconque s'intéresse sérieusement à son oeuvre. Il s'agit en quelque sorte de la conclusion de sa trilogie (qui n'en est pas vraiment une) de la déconstruction de Max von Sydow, entamée dans L'Heure du loup...( read more) et poursuivie dans La Honte. Encore une fois, le personnage interprété par l'acteur se voit confronté à l'effondrement de son univers intérieur.

    Pour le meilleur ou pour le pire, Bergman expérimente beaucoup avec la structure de l'oeuvre cinématographique, en brisant les formules habituelles, poussant même l'audace jusqu'à inclure des segments d'entrevue avec les acteurs qui parlent de leurs personnages respectifs... Des éléments clés de l'intrigue sont présentés à des moments inattendus et de manière inaccoutumée, et une étrange seconde intrigue suscite beaucoup de questionnements qui sont un peu laissés en suspens.

    Le travail photographique de Sven Nykvist est comme toujours de première qualité. On retrouve toute la beauté de l'esthétique et du style de Bergman, mais qu'on ne se fasse pas d'illusions, il s'agit tout de même d'un film difficile d'accès et qui contient quelques ratés.
  • June 26, 2008
    Quite the difficult film. not entirely sure that I 'got' it. It is entirely dreary and bleak, not making for a pleasant viewing experience. despite this, the intense examination of the characters maintains intrest to the point that you dont start cutting yourself. Some random int...( read more)erviews with the lead actors are spliced in to confusing effect. not sure why that was.
  • October 16, 2007
    Good performances, beautiful cinematography but the tortured angst begins to congeal here. The Brechtian actor interviews come across as gimmicky items from someone stretching for ideas and the core relationship struggles of Van Sydow and Ullman doesn't carry the emotional force ...( read more)necessary to convince the viewer at the end of the day.

    Worth watching but not his best.
  • August 24, 2007
    Potente, las improvisaciones en verdad le dieron mucha escencia a la pelicula.
  • August 16, 2007
    Outstanding Bergman film. Dark, heavy, yet profound. His use of colour is remarkable. Sydow and Ullman are riveting.

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