By Susan Sontag
According to Edgardo Cozarinsky, the Argentine movie critic: "There is anything recognizably Scandinavian approximately Brother Carl: un-easy, confusing exchanges among its characters, with brooding, ever-present nature surrounding them. The interaction of formal speech and simple silence recollects Dreyer's Gertrud (rather than Bergman's The Silence and Persona). On nearer inspection, although, it's not like the other Scandinavian movie. The miracles, not like that during Dreyer's Ordet, aren't 'real' ones. yet they're the single style those characters can manage to pay for. Brother Carl is an outsider's remark, with very own adaptations, on these motifs that filmgoers go along with the Scandinavian movie culture. and masses of its elusive fascination depends upon this versatile distance btween fabric that can appear commonly used and the clean glance that establishes its personal perspective."
Brother Carl was once shot in and round Stockholm in 1970 and had its...
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Additional resources for Brother Carl : a filmscript
Example text
Apologetic, and forced to shout (the connection being up to the usual Paris-to-provinces standard) in my far from perfect French, I tried to explain who I was, that I wanted him to be in a film, and that I hoped to come to see him that week, wherever he would be. To my astonishment, he replied that my trip wouldn’t be necessary, since he knew that he would like to work with me. Two minutes after the start of our conversation, without giving me time even to tell him the theme of the film or what his role would be, and undeterred by my warning that he (like everyone working on the film) would be paid next to nothing, I had his promise to put aside three months to come to Sweden.
It’s as if she’s talking to herself. She is smiling, amused by the actors’ antics, savoring herself. Then she turns her head, really looks at KAREN for the first time, and becomes aware that KAREN is distraught. She straightens up. LENA What? You can’t come with me. KAREN averts her face. KAREN No! God, no! If you only knew how much I want to get away! The last part of KAREN’S line is partly covered by a loud crash, as if the two actors had fallen off the bicycle. Medium shot of LENA. LENA Is it that bad?
As I saw it in my head, it was a film in black-and-white, more accurately, black-to-white images: about a present haunted by an untellable “black” act of corruption that lies in the past, transfixed by an unmerited “white” act of healing that waits in the future. When I left Stockholm at the beginning of February 1970, I stopped off in Paris, hoping that I could persuade Laurent Terzieff (an actor I’d admired for years but had never met) to accept the role of Carl. I discovered that he had gone on tour for the month.