Fanny, Alexander & jag
Follows the rehearsals at the Royal Dramatic Theatre, Stockholm, of Stefan Larsson's staging of "Fanny and Alexander", Bergman's mighty epic about life, art and theatre. Follows the rehearsals of Stef…
Fanny, Alexander & jag
Follows the rehearsals at the Royal Dramatic Theatre, Stockholm, of Stefan Larsson's staging of "Fanny and Alexander", Bergman's mighty epic about life, art and theatre. Follows the rehearsals of Stefan Larsson's staging of "Fanny and Alexander", Bergman's mighty epic about life, art and theatre. The cast and crew were given full access and trailed the work from collation to the premiere at the Royal Dramatic Theatre, Stockholm, in February 2012. Björkman uses the same liberating method as Bergman did in his own behind the scene of the film "Fanny and Alexander": no narration, no title signs, very few interviews. Instead, discreetly filmed scenes from the rehearsals interspersed with pictures of the theatre's foot soldiers in working passionate and hard. Björkman moves smoothly and freely, and the fly on the wall-the feeling is maximum, complete with unsettled actors and the mandatory director's fury before stoically silent theatre personnel. —Ulf Kjell Gür
Fanny, Alexander & jag
Documentary
Film Details
Follows the rehearsals at the Royal Dramatic Theatre, Stockholm, of Stefan Larsson's staging of "Fanny and Alexander", Bergman's mighty epic about life, art and theatre. Follows the rehearsals of Stefan Larsson's staging of "Fanny and Alexander", Bergman's mighty epic about life, art and theatre. The cast and crew were given full access and trailed the work from collation to the premiere at the Royal Dramatic Theatre, Stockholm, in February 2012.
Björkman uses the same liberating method as Bergman did in his own behind the scene of the film "Fanny and Alexander": no narration, no title signs, very few interviews. Instead, discreetly filmed scenes from the rehearsals interspersed with pictures of the theatre's foot soldiers in working passionate and hard. Björkman moves smoothly and freely, and the fly on the wall-the feeling is maximum, complete with unsettled actors and the mandatory director's fury before stoically silent theatre personnel.
—Ulf Kjell Gür.