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 remembers Dreyer's Gertrud (rather than Bergman's The Silence and Persona). On nearer inspection, although, it truly is not like the other Scandinavian movie. The miracles, not like that during Dreyer's Ordet, will not be 'real' ones. yet they're the single sort those characters can come up with the money for. Brother Carl is an outsider's observation, with very own adaptations, on these motifs that filmgoers go together with the Scandinavian movie culture. and masses of its elusive fascination is determined by this versatile distance btween fabric that could 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
Then LENA looks up. LENA You shouldn’t let yourself put on so much weight. MARTIN makes a small, weary noise of assent. LENA smiles—dotingly, seductively. LENA You don’t get enough exercise any more. She disengages herself from his embrace, takes his right hand, and tries to pull him out of the chair and onto the floor with her. He resists for a moment, then follows her. Change to a wider shot, as MARTIN follows LENA down to the floor. She is lying on her right side. He lowers himself down slowly, letting his head come to rest in her lap.
At the rear of the room is an alcove with twin beds. On the night table between the two beds is a lamp and two books; above the beds hang a pair of old-fashioned oval portraits, one of a woman and the other of a man, in a rectangular frame. KAREN is sitting up in the bed to the left. She wears a white nightgown and is partly under the covers. KAREN How can you fight any harder than you already have? Full shot of LENA. Having crossed the room, LENA turns left into the passageway beyond the alcove.
It is clear from his expression that he misses. He crosses the room—the camera pans with him—to pick up the sweater from the floor and hang it up on the peg. The camera stops when KAREN, still standing by the open front door, is included in the shot. She looks blank, impassive. MARTIN turns around to face LENA. Reverse angle: medium shot of LENA, standing in the threshold between the front room and the sleeping room. , at the camera), accepting the challenge. LENA All right. Me. Back to shot (from LENA’S point of view) of MARTIN.