By Susan Sontag
According to Edgardo Cozarinsky, the Argentine movie critic: "There is anything recognizably Scandinavian approximately Brother Carl: un-easy, perplexing exchanges among its characters, with brooding, ever-present nature surrounding them. The interaction of formal speech and simple silence remembers Dreyer's Gertrud (rather than Bergman's The Silence and Persona). On nearer inspection, notwithstanding, it really is in contrast to the other Scandinavian movie. The miracles, in contrast to that during Dreyer's Ordet, aren't 'real' ones. yet they're the single sort those characters can find the money for. Brother Carl is an outsider's statement, with very own adaptations, on these motifs that filmgoers go together with the Scandinavian movie culture. and lots more and plenty of its elusive fascination is determined by this versatile distance btween fabric that can appear primary 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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Extra resources for Brother Carl : a filmscript
Bridge, pavilion (Saltsjöbaden). Moments later Very long shot. KAREN first—with LENA behind her—is walking over the small bridge, from screen left to screen right. LENA I wired him, but I knew he wouldn’t come to meet us. Long shot of the pavilion, which is enclosed by a wall about four feet high (bottom half, whitewashed wood; top half, glass). It has a dozen metal tables with chairs. The camera is inside. Only two tables are occupied, of those shown: at a table mid-ground are two old ladies, both wearing similar wide-brimmed hats.
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? Medium-close shot of KAREN. KAREN I’m bad. LENA (Off) That bad? LENA’S tone is tenderly mocking. KAREN I hate everyone. Peter. The child. My mother. You too … Am I supposed to say now that I hate myself too? I don’t. I feel sorry for myself.
PETER opens the door softly and enters the shot. He’s carrying a newspaper. KAREN goes on with her phone call, but her voice is vague. KAREN Did you tell him? The camera follows PETER as he comes over to the couch. He sits on the floor beside KAREN and puts his head on her stomach. Still holding the receiver to her ear with her right hand, she caresses PETER’S hair with her left hand, without looking down at his face. KAREN What? … Sure I’m listening … KAREN closes her eyes, continues to stroke PETER’S hair.