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فانی و الکساندر
فیلم، کار مشترک کشورهای سوئد، فرانسه وآلمان است که در سال ۱۹۸۳ساخته شد. بن مایه اصلی فیلم، انتقام جویی از اعتبار و اقتدار بزرگسالان است که یکی از اساسی‌تری� دلبستگی‌ها� «برگمان» را تشکیل می‌ده�. این نقش در فانی والکساندر به عهده پسربچه یازده ساله‌ا� به نام «الکساندر اکدال» است که قصد دارد کشیشی را به قتل برساند، اما�
284 pages, Paperback
First published January 1, 1982
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About the author
Ingmar Bergman
146books592followersErnst Ingmar Bergman was a nine-time Academy Award-nominated Swedish film, stage, and opera director. He depicted bleakness and despair as well as comedy and hope in his explorations of the human condition. He is recognized as one of the greatest and most influential filmmakers in cinematic history.
He directed 62 films, most of which he wrote, and directed over 170 plays. Some of his internationally known favorite actors were Liv Ullmann, Bibi Andersson, and Max von Sydow. Most of his films were set in the stark landscape of his native Sweden, and major themes were often bleak, dealing with death, illness, betrayal, and insanity.
Bergman was active for more than 60 years, but his career was seriously threatened in 1976 when he suspended a number of pending productions, closed his studios, and went into self-imposed exile in Germany for eight years following a botched criminal investigation for alleged income tax evasion.
He directed 62 films, most of which he wrote, and directed over 170 plays. Some of his internationally known favorite actors were Liv Ullmann, Bibi Andersson, and Max von Sydow. Most of his films were set in the stark landscape of his native Sweden, and major themes were often bleak, dealing with death, illness, betrayal, and insanity.
Bergman was active for more than 60 years, but his career was seriously threatened in 1976 when he suspended a number of pending productions, closed his studios, and went into self-imposed exile in Germany for eight years following a botched criminal investigation for alleged income tax evasion.
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Displaying 1 - 30 of 57 reviews
February 9, 2022
Fanny och Alexander = Fanny and Alexander�, Ingmar Bergman
Fanny and Alexander is a 1982 historical period drama film written and directed by Ingmar Bergman.
The plot focuses on two siblings and their large family in Uppsala, Sweden during the first decade of the twentieth century. Following the death of the eponymous children's father (Allan Edwall), their mother (Ewa Fröling) remarries a prominent bishop (Jan Malmsjö) who becomes abusive towards Alexander for his vivid imagination.
Bergman intended Fanny and Alexander to be his final picture before retiring, and his script is semi-autobiographical.
تاریخ نخستین خوانش: روز سی و یکم ماه می سال1999میلادی
عنوان: فانی و الکساندر؛ نوشته: اینگمار برگمن؛ مترجم: مهسا ملک مرزبان؛ تهران، نشر نی، سال1377، در284ص، مصور، فیلمنامه، شابک9643124096؛ موضوع: فیلمنامه، اینگار برگمن، نقد و تفسیر از نویسندگان سوئد - سده20م
فیلم، کار مشترک کشورهای: «سوئد»، «فرانسه»، و «آلمان» است که در سال1983میلادی ساخته شد، روایت سیر تکامل رؤیاهای دو کودک است؛ خواهر و برادری، که با هم رؤیا را تجربه میکنند، و تماشاگر و خوانشگر نیز، شاهد تکامل، و تکمیل رؤیاهای آنها هستند؛ در این بین، اما، «الکساندر» که برادر بزرگتر است، بیش از خواهرش «فانی»، رؤیاپردازی میکند؛ خوانشگر، هیچگاه از «فانی»، در تنهایی اش، رویای شخصی نمیبیند؛ رویای او در کنارِ «الکساندر» و در حضور ایشانست، که رنگ گرفته، و معنی مییابد؛ این در حالیست، که خوانشگر و تماشاگر، از آغاز فیلم، و فیلمنامه، «الکساندر» را به تنهایی میبینند، و تا انتها نیز، گاه شاهد رؤیاهای شخصی او هستند
مباحث اصلی کتاب: «شناسنامه فیلم»، «پیش گفتار»، «فیلم نامه کامل داستان»، «عصاره تواناییها و دغدغه� های برگمان»، «بچه� های برگمان»، «اینگمار برگمان»، «بیایید از پا ننشینیم»، و «تصویرهای فیلم فانی و الکساندر»؛
بن مایه ی اصلی فیلم، انتقامجویی از اعتبار، و اقتدار بزرگسالان است، که یکی از اساسی ترین دلبستگیهای «برگمان» را، شکل میدهد؛ این نقش در «فانی و الکساندر»، بر دوش پسربچه ای یازده ساله� به نام «الکساندر اکدال» است، که میخواهد کشیشی را، به قتل برساند، اما ...؛
تاریخ بهنگام رسانی 24/12/1399هجری خورشیدی؛ 19/11/1400هجری خورشیدی؛ ا. شربیانی
Fanny and Alexander is a 1982 historical period drama film written and directed by Ingmar Bergman.
The plot focuses on two siblings and their large family in Uppsala, Sweden during the first decade of the twentieth century. Following the death of the eponymous children's father (Allan Edwall), their mother (Ewa Fröling) remarries a prominent bishop (Jan Malmsjö) who becomes abusive towards Alexander for his vivid imagination.
Bergman intended Fanny and Alexander to be his final picture before retiring, and his script is semi-autobiographical.
تاریخ نخستین خوانش: روز سی و یکم ماه می سال1999میلادی
عنوان: فانی و الکساندر؛ نوشته: اینگمار برگمن؛ مترجم: مهسا ملک مرزبان؛ تهران، نشر نی، سال1377، در284ص، مصور، فیلمنامه، شابک9643124096؛ موضوع: فیلمنامه، اینگار برگمن، نقد و تفسیر از نویسندگان سوئد - سده20م
فیلم، کار مشترک کشورهای: «سوئد»، «فرانسه»، و «آلمان» است که در سال1983میلادی ساخته شد، روایت سیر تکامل رؤیاهای دو کودک است؛ خواهر و برادری، که با هم رؤیا را تجربه میکنند، و تماشاگر و خوانشگر نیز، شاهد تکامل، و تکمیل رؤیاهای آنها هستند؛ در این بین، اما، «الکساندر» که برادر بزرگتر است، بیش از خواهرش «فانی»، رؤیاپردازی میکند؛ خوانشگر، هیچگاه از «فانی»، در تنهایی اش، رویای شخصی نمیبیند؛ رویای او در کنارِ «الکساندر» و در حضور ایشانست، که رنگ گرفته، و معنی مییابد؛ این در حالیست، که خوانشگر و تماشاگر، از آغاز فیلم، و فیلمنامه، «الکساندر» را به تنهایی میبینند، و تا انتها نیز، گاه شاهد رؤیاهای شخصی او هستند
مباحث اصلی کتاب: «شناسنامه فیلم»، «پیش گفتار»، «فیلم نامه کامل داستان»، «عصاره تواناییها و دغدغه� های برگمان»، «بچه� های برگمان»، «اینگمار برگمان»، «بیایید از پا ننشینیم»، و «تصویرهای فیلم فانی و الکساندر»؛
بن مایه ی اصلی فیلم، انتقامجویی از اعتبار، و اقتدار بزرگسالان است، که یکی از اساسی ترین دلبستگیهای «برگمان» را، شکل میدهد؛ این نقش در «فانی و الکساندر»، بر دوش پسربچه ای یازده ساله� به نام «الکساندر اکدال» است، که میخواهد کشیشی را، به قتل برساند، اما ...؛
تاریخ بهنگام رسانی 24/12/1399هجری خورشیدی؛ 19/11/1400هجری خورشیدی؛ ا. شربیانی
August 8, 2022
This book, taken from Ingmar Bergman's testament film script, plunges us into a dreamlike and phantasmagoric childhood vision. Much more than an ordinary chronicle of a bourgeois family's life in Sweden at the beginning of the 20th century, the work is intended as an initiatory journey of the young hero Alexander. Childhood was not always a dream. It can also be interpreted or suffered as a nightmare with its share of horrors and wonders. Found all the depth and themes dear to Bergman there. An honest social novel that can be devoured in one go, provoking fascination and admiration.
December 25, 2023
"...sve može da se desi, sve je moguće i verovatno. Ni vreme ni prostor ne postoje. Na slabašnim temeljima stvarnosti uobrazilja ispreda i tka nove šare..."
Jedan od najuticajnijih filmskih režisera dvadesetog veka je davne 1979. potpisao roman "Fani i Aleksander" po kom je 1982. godine snimljen i njegov istoimeni film. Iako će ostati upamćen po svojim dostignućima u sedmoj umetnosti, Bergman i u ulozi pisca pokazuje naročit talenat.
4-
Jedan od najuticajnijih filmskih režisera dvadesetog veka je davne 1979. potpisao roman "Fani i Aleksander" po kom je 1982. godine snimljen i njegov istoimeni film. Iako će ostati upamćen po svojim dostignućima u sedmoj umetnosti, Bergman i u ulozi pisca pokazuje naročit talenat.
4-
September 8, 2024
Helena: Are you sad because you have grown old, Isak?
Isak: No. It's just that it seems as if everything is getting worse. Worse weather, worse people, worse machines, worse wars. The boundaries are burst, and all the unspeakable things spread out and can never again be checked. It's good then to be dead.
*
Gentle but steady summer rain is falling on the thick greenery that encloses the house and almost blocks the view of the bay. Off and on the thunder mutters halfheartedly over the water. The rain trickles down the panes; there is a gurgling and splashing from the drainpipes and the water butts.
The glass veranda is like a diving bell submerged in a green, translucent sea. Helena has been lulled to sleep by the summer rain. The security of childhood, the days pass, suddenly you are old. The rain patters on the roof, the child slumbers. It is also the old woman s sleep. No time has passed. The grandfather clock ticks, clears its throat, and strikes—doing its duty although hours and minutes no longer exist. The house is empty, deserted. Deep in dreamless repose Helena is enveloped by the summer verandas scents of meadow flowers, aging basket chairs and sun-drenched floorboards. Through a half-open window wafts the smell of heavy, wet greenery, of the water in the bay, of the summer afternoon's transience.
*
Reality has been broken ever since, and oddly enough it feels better that way. So I don't bother to mend it. I just don't care if nothing makes sense.
Isak: No. It's just that it seems as if everything is getting worse. Worse weather, worse people, worse machines, worse wars. The boundaries are burst, and all the unspeakable things spread out and can never again be checked. It's good then to be dead.
*
Gentle but steady summer rain is falling on the thick greenery that encloses the house and almost blocks the view of the bay. Off and on the thunder mutters halfheartedly over the water. The rain trickles down the panes; there is a gurgling and splashing from the drainpipes and the water butts.
The glass veranda is like a diving bell submerged in a green, translucent sea. Helena has been lulled to sleep by the summer rain. The security of childhood, the days pass, suddenly you are old. The rain patters on the roof, the child slumbers. It is also the old woman s sleep. No time has passed. The grandfather clock ticks, clears its throat, and strikes—doing its duty although hours and minutes no longer exist. The house is empty, deserted. Deep in dreamless repose Helena is enveloped by the summer verandas scents of meadow flowers, aging basket chairs and sun-drenched floorboards. Through a half-open window wafts the smell of heavy, wet greenery, of the water in the bay, of the summer afternoon's transience.
*
Reality has been broken ever since, and oddly enough it feels better that way. So I don't bother to mend it. I just don't care if nothing makes sense.
April 8, 2015
Description: A new two-part radio version of Ingmar Bergman's Academy Award-winning 1982 film about a Swedish family at the start of the twentieth century. The critically acclaimed original work is one of the longest films in cinematic history, and is a beguiling drama about childhood where imagination is found to be a passport out of dread and into mystery. Adapted for radio by Sharon Oakes.
Episode 1: Through the eyes of ten-year-old Alexander, we witness the delights and conflicts of the Ekdahl family, a sprawling theatrical family in turn-of-the-twentieth-century Sweden. Ingmar Bergman intended Fanny and Alexander to be his swan song, and it is the legendary director's warmest and most autobiographical film that combines his trademark melancholy and emotional intensity with immense joy and sensuality.
Songs composed and performed by Carl Preko
My advice -
July 21, 2020
ma peaaegu poleks seda LR kuldsarjas välja antud "Fannyt ja Alexandrit" lugema hakanud, sest teadsin kindlalt, et ma juba olen seda lugenud - siis, kui ta LR-s esimest korda ilmus. hilisem analüüs järelsõna abil, kus kõik kuupäevad kirjas, andis tulemuseks, et olin selle lugemise ajal Alexandrist napilt vanem ehk umbes 12-aastane. (ma olin lapsena veendunud, et kõik raamatud, mille tegelasteks on lapsed, on lasteraamatud ja et mul on vaja neid lugeda.)
nii et hea, et uuesti ette võtsin, sest esiteks polnud mul sisust kuigi palju meeles (kuigi üldine õhkkond oli päris hästi) ja teiseks, ega ta ikka ei ole küll lasteraamat ja väärib täiskasvanud minu aega vägagi.
kuidagi nii muinasjutuliselt kena ja armas on see Ekdahlide perekond. vahepeal tülitsetakse ja ollakse üksteisest väsinud, aga kui vaja on, siis võetakse kamp kokku ja päästetakse omad ära. ja kuri piiskop muidugi oli muinasjutuliselt kuri. ainult seksi ja vandumist oli rohkem kui muinasjutus.
need Ülev Aaloe tõlked on ka alati nii head.
nii et hea, et uuesti ette võtsin, sest esiteks polnud mul sisust kuigi palju meeles (kuigi üldine õhkkond oli päris hästi) ja teiseks, ega ta ikka ei ole küll lasteraamat ja väärib täiskasvanud minu aega vägagi.
kuidagi nii muinasjutuliselt kena ja armas on see Ekdahlide perekond. vahepeal tülitsetakse ja ollakse üksteisest väsinud, aga kui vaja on, siis võetakse kamp kokku ja päästetakse omad ära. ja kuri piiskop muidugi oli muinasjutuliselt kuri. ainult seksi ja vandumist oli rohkem kui muinasjutus.
need Ülev Aaloe tõlked on ka alati nii head.
April 7, 2015
A splendid and unforgettable movie. I won't miss this BBC dramatization.
From BBC Radio 3 - Drama on 3:
A new two-part radio version of Ingmar Bergman's Academy Award-winning 1982 film about a Swedish family at the start of the twentieth century. The critically acclaimed original work is one of the longest films in cinematic history, and is a beguiling drama about childhood where imagination is found to be a passport out of dread and into mystery. Adapted for radio by Sharon Oakes.
Episode 1:
Through the eyes of ten-year-old Alexander, we witness the delights and conflicts of the Ekdahl family, a sprawling theatrical family in turn-of-the-twentieth-century Sweden. Ingmar Bergman intended Fanny and Alexander to be his swan song, and it is the legendary director's warmest and most autobiographical film that combines his trademark melancholy and emotional intensity with immense joy and sensuality.
Episode 2:
Fanny and Alexander's father has died and their mother, Emilie, has married the bishop and they are all now living at the Bishop's Palace.
Songs composed and performed by Carl Prekopp.
A movie was made based on this book: and it's available at .
From BBC Radio 3 - Drama on 3:
A new two-part radio version of Ingmar Bergman's Academy Award-winning 1982 film about a Swedish family at the start of the twentieth century. The critically acclaimed original work is one of the longest films in cinematic history, and is a beguiling drama about childhood where imagination is found to be a passport out of dread and into mystery. Adapted for radio by Sharon Oakes.
Episode 1:
Through the eyes of ten-year-old Alexander, we witness the delights and conflicts of the Ekdahl family, a sprawling theatrical family in turn-of-the-twentieth-century Sweden. Ingmar Bergman intended Fanny and Alexander to be his swan song, and it is the legendary director's warmest and most autobiographical film that combines his trademark melancholy and emotional intensity with immense joy and sensuality.
Episode 2:
Fanny and Alexander's father has died and their mother, Emilie, has married the bishop and they are all now living at the Bishop's Palace.
Songs composed and performed by Carl Prekopp.
A movie was made based on this book: and it's available at .
June 11, 2016
Bergman je odličan i kao pisac.
May 28, 2016
Fanny and Alexander is another great work of Bergman. Most of Bergman's works are in black and white, cold or gray. (Of course some of them are in red and orange background). This movie is colourful and has great decorative. Also it is the longest movie of Bergman. Maybe this movie is testament of Bergman 'works. This movie has some surreal scenes. I could say Fanny and Alexander is a kind of depiction of a dream. Not only because it contains some surreal and dreams liking scenes but also it breaks many rules; in this movie in every moment every thing could happen. And we must know; in dream everything is possible...I like this movie because it conducts me to my sweet dreams...
September 9, 2024
homme on filmiõhtu 👍
January 25, 2022
Mmm... jaa... ma pole päris kindel, miks ma selle raamatu lugemist pidevalt edasi lükkasin. Lõpuks kätte võttes oli väga haarav perekonnadraama. Samas üksjagu ärritust. Võimukas vanaema, erinevate nõrkustega pojad ja nende alati-nii-mõistvad abikaasad (miks need naiskarakterid alati nii mõistvad peavad olema, ah?) ja lapsed, kelle (kujuneva) sisemaailma avamist nautisin ja mida oleks võinud rohkem või sügavuti minevamalt olla. See Piiskopi kuju oli muidugi tohutult üle forsseeritud - püha mees, kes on tegelikult suur kuri ise ja ei tee ühtegi mööndust - karistus sünnib Armastusest ja lapsi peabki õpetama karme meetodeid kasutades jne.
Kuigi nagu ma ennist kirjutasin oli tekst väga haarav, siis lõpp oli mu meelest lohakas ja/või igav + siis naiskarakterite küsimus. Lugu kulges, kulges, kulges ja siis justkui teadmata, mida selle pingega peale hakata sai otsa. Kuri on alistatud ja see kõik sünnib ju alati nii lihtsalt, sest headus võidab kõik.
Naiskarakterite osas, olgu, ajastu, AGA kui ühe perekonna sees on võimalus olla suur näitlejanna laval ja juhtida Teatrit, siis mis kuradi pärast peab naeratuse ja lahkusega leppima sama perekonna sees mehe pideva noorte tüdrukute tagaajamisega õlakehitusega ja "noh, nii lihtsalt juba on"'iga ja esimese tegelase eeskujul järgmist lapsehoidjat lihtsalt kavalalt hoiatades? Kuidas on Bergmani karakterid ühel ajal iseteadlikud tugevad naised ja samas kannatavad kogu seda meeste sitta. Kolmanda venna naine Lydia on õppinud mööda laskma oma mehe sõimu enda aadressil, sest ta keeldub seda tõsiselt võtmast ja kõigest naerab. Miks ta ei võiks seda Carli lihtsalt kuradile saata? Sest nii ei tehta Bergmani raamatutes (ega filmides).
Kuigi nagu ma ennist kirjutasin oli tekst väga haarav, siis lõpp oli mu meelest lohakas ja/või igav + siis naiskarakterite küsimus. Lugu kulges, kulges, kulges ja siis justkui teadmata, mida selle pingega peale hakata sai otsa. Kuri on alistatud ja see kõik sünnib ju alati nii lihtsalt, sest headus võidab kõik.
Naiskarakterite osas, olgu, ajastu, AGA kui ühe perekonna sees on võimalus olla suur näitlejanna laval ja juhtida Teatrit, siis mis kuradi pärast peab naeratuse ja lahkusega leppima sama perekonna sees mehe pideva noorte tüdrukute tagaajamisega õlakehitusega ja "noh, nii lihtsalt juba on"'iga ja esimese tegelase eeskujul järgmist lapsehoidjat lihtsalt kavalalt hoiatades? Kuidas on Bergmani karakterid ühel ajal iseteadlikud tugevad naised ja samas kannatavad kogu seda meeste sitta. Kolmanda venna naine Lydia on õppinud mööda laskma oma mehe sõimu enda aadressil, sest ta keeldub seda tõsiselt võtmast ja kõigest naerab. Miks ta ei võiks seda Carli lihtsalt kuradile saata? Sest nii ei tehta Bergmani raamatutes (ega filmides).
This entire review has been hidden because of spoilers.
April 20, 2020
Kuus aastat tagasi vaatasin Vanemuise väikeses majas samanimelist lavastust ja mäletan, et pärast oli kuidagi häiriv, püha tunne. Nüüdseks sisust enam suurt midagi ei mäletanud, aga pärast raamatu lõpetamist on tunne sama. Ühe suguvõsa rõõmud, mured, deemonid, surm ja elu oma kõikides toonides.
August 28, 2024
olen lummatud!
November 24, 2020
See raamat on üle minu pea.
November 22, 2023
alexander täpselt nagu mu õde, nutsin slp päris mitu korda
i <3 bergman
i <3 bergman
February 6, 2025
Fanny and Alexander written and directed by Ingmar Bergman
Another version of this note and thoughts on other books are available at:
- and
This is a chef d’oeuvre.
Critics, scholars and experts have included this dazzling film among the best ever made and it is perhaps only to be expected.
It won four Academy Awards, the Golden globe for Best Foreign Language Film, BAFTA, Cesar and so many other awards.
When I first saw it, I thought this is the best film that I have ever seen.
If not the best, certainly among the very best.
And it is so different from Persona, Through A Glass Darkly, Scenes From A Marriage and so many, if not most of Bergman’s creations.
For a good part of the film, there are more similarities with the comedy Smiles Of A summer Night, with the joy of living plainly expressed.
But this is much more complex, given that about one hour or thereabouts we have the drama of the children that is so overwhelming...
Without going into details that would necessitate a spoiler alert, I will limit myself to say that Fanny and Alexander suffer terribly.
Their father dies early on in the film, albeit Alexander is able to see his and another ghost and even talk to the figures of another world.
Emilie Ekdahl is the innocent mother of Fanny and Alexander, who suffers from the trauma of losing a loving husband.
However, instead of experiencing a Post Traumatic Growth, she is affected by PTSD Post Traumatic Stress Disorder.
I am facetious and making a bad joke, for lack of a reasonable explanation for her choice of accepting the advances of Edvard Vergerus.
- This evil, horrendous, cruel, heinous bishop joins a long line of monsters, from Lex Luthor to Mephistopheles
Yes, the young widow has been deceived and then punished cruelly for her misjudgment, but her Emotional Intelligence should have prevented such a catastrophe that involved her children and caused them to suffer.
On the other hand, this devil was a “man of the church� pretending to be …oh, so virtuous, modest and disinterested in material things.
- What a devious, cunning and ferocious “wolf in sheep clothes�
The actor in this demanding role has rendered magisterially the ruthlessness and the two faces of this maniac.
And then he was not alone.
Inside the austere prison that he called home and indeed used to torment his new family, there were other figures from hell.
This devilish bishop lives with mother, aunt, sister and maids that all seem to share a pleasure for sadistic experiments.
Except perhaps for the sick woman- who still looks grotesque and terrifying at the same time- the others are demons from hell.
Even the maid is a mirror image of the masters, encouraging poor Alexander to speak about his vision only to “inform� on him.
The religious, transcendent meaning of the film escapes me, especially since I am not a believer and epiphanies have not been forthcoming�
Yet.
Insha’Allah, there will be one day when, like Alexander, I will be able to see the dead and engage with them.
After these future conversations in which they will explain the workings of paradise, I will be convinced and saved.
Alhamdulillah!
Unless the story mentioned by Professor Tal Ben Shahar in his Harvard lectures- most popular ever- is true
- This man who has been a thief arrives in a very pleasant place that he quickly identifies as heaven:
- There is nothing to do there, but there is a serenity, pleasant atmosphere and everything seems perfect
- Except that is the boredom that finally beats our hero who insists upon getting some job, something to do
- When refused and told there is nothing, the fella finally gives up and cannot stand it anymore asking:
- Look, I want to go to the other place
- This is the other place says the figure with an evil smile on the face�
I think the professor said this is from The Twilight Zone and it is similar with this passage in Fanny and alexander wherein the bishop and his paradisiacal abode turn out to be…”the other place�
Another version of this note and thoughts on other books are available at:
- and
This is a chef d’oeuvre.
Critics, scholars and experts have included this dazzling film among the best ever made and it is perhaps only to be expected.
It won four Academy Awards, the Golden globe for Best Foreign Language Film, BAFTA, Cesar and so many other awards.
When I first saw it, I thought this is the best film that I have ever seen.
If not the best, certainly among the very best.
And it is so different from Persona, Through A Glass Darkly, Scenes From A Marriage and so many, if not most of Bergman’s creations.
For a good part of the film, there are more similarities with the comedy Smiles Of A summer Night, with the joy of living plainly expressed.
But this is much more complex, given that about one hour or thereabouts we have the drama of the children that is so overwhelming...
Without going into details that would necessitate a spoiler alert, I will limit myself to say that Fanny and Alexander suffer terribly.
Their father dies early on in the film, albeit Alexander is able to see his and another ghost and even talk to the figures of another world.
Emilie Ekdahl is the innocent mother of Fanny and Alexander, who suffers from the trauma of losing a loving husband.
However, instead of experiencing a Post Traumatic Growth, she is affected by PTSD Post Traumatic Stress Disorder.
I am facetious and making a bad joke, for lack of a reasonable explanation for her choice of accepting the advances of Edvard Vergerus.
- This evil, horrendous, cruel, heinous bishop joins a long line of monsters, from Lex Luthor to Mephistopheles
Yes, the young widow has been deceived and then punished cruelly for her misjudgment, but her Emotional Intelligence should have prevented such a catastrophe that involved her children and caused them to suffer.
On the other hand, this devil was a “man of the church� pretending to be …oh, so virtuous, modest and disinterested in material things.
- What a devious, cunning and ferocious “wolf in sheep clothes�
The actor in this demanding role has rendered magisterially the ruthlessness and the two faces of this maniac.
And then he was not alone.
Inside the austere prison that he called home and indeed used to torment his new family, there were other figures from hell.
This devilish bishop lives with mother, aunt, sister and maids that all seem to share a pleasure for sadistic experiments.
Except perhaps for the sick woman- who still looks grotesque and terrifying at the same time- the others are demons from hell.
Even the maid is a mirror image of the masters, encouraging poor Alexander to speak about his vision only to “inform� on him.
The religious, transcendent meaning of the film escapes me, especially since I am not a believer and epiphanies have not been forthcoming�
Yet.
Insha’Allah, there will be one day when, like Alexander, I will be able to see the dead and engage with them.
After these future conversations in which they will explain the workings of paradise, I will be convinced and saved.
Alhamdulillah!
Unless the story mentioned by Professor Tal Ben Shahar in his Harvard lectures- most popular ever- is true
- This man who has been a thief arrives in a very pleasant place that he quickly identifies as heaven:
- There is nothing to do there, but there is a serenity, pleasant atmosphere and everything seems perfect
- Except that is the boredom that finally beats our hero who insists upon getting some job, something to do
- When refused and told there is nothing, the fella finally gives up and cannot stand it anymore asking:
- Look, I want to go to the other place
- This is the other place says the figure with an evil smile on the face�
I think the professor said this is from The Twilight Zone and it is similar with this passage in Fanny and alexander wherein the bishop and his paradisiacal abode turn out to be…”the other place�
August 14, 2018
Fanny and Alexandr is very unusual book. Firstly I was bored - there was a lot of describe but the second part was much better. Story was a combination of love, strange, hate and vulgar words. I gave only 2 stars but the reason is I don´t know Bergman so deep - next book will be maybe better! :)
November 3, 2024
“kuidas saadakse keskpärasuseks, oskad sa mulle selle peale vastata? kuidas tolm langeb? millal ollakse kaotanud?�
ei viitsi pikalt kirjutada seega teen lühidalt, parim raamat, mida see aasta lugenud olen.
ei viitsi pikalt kirjutada seega teen lühidalt, parim raamat, mida see aasta lugenud olen.
March 14, 2015
Não sabia bem que Ingmar Bergman também foi escritor. E dos bons, diga-se.
January 2, 2019
Förvånansvärt lättläst och trots allt en ganska bra bok. Positivt överraskad
December 2, 2021
Das beste Theaterstück von Bergman. Zugegebenerweise habe ich was Neues nach dem Lesen des Buches herausgekriegt, einige Szenen waren vom Film vorsorglich abgeschnitten, zB die Tatsache, das Emilia 3 Kinder von Oskar, statt 2 hatte, nämlich Fanny, Alexander und Amanda.
Ich war eigentlich von der aussagekräftigen Geschichte sehr beeindruckt, indem ich die Rollenverteilung und die Persönlichkeitswerte nochmal analysiert habe.
Die Großmutter hat ihre Kinder so großgezogen, dass sie immer in der 'kleinen Welt' unbekümmert geblieben sind. Ergo, sind sie mit 50 doch unreif geblieben, was auch die Zukunft für Alexander vorbereiten hätte, wenn er dem Bischof nicht begegnet hätte.
Außerdem ist die schreckliche Geschichte nur wegen Emilia passiert, da sie der Auslöser für den Hass und Anspannung zwischen dem Bischof und Alexander verantwortlich war, denn sie "wollte geliebt zu werden und die wahre Leidenschaft erleben". In der Tat, jedoch, hatte sie Lust auf Drama und guten Sex. Drama und Sex hat sie nun bekommen. Und im Buch hatte Sie mit Ihren Kindern einen Besuch beim Bischofs Haus vor dem Heirat, folglich war sie im Klaren, unter welchen groben Bedingungen die Familie lebt. Wer hat sie dazu verpflichtet, diesen Heirat zu begehen? Ihre Hormone, anscheinend.
Der Bischof wirkt wie der einziger logischer man im Buch, zumindest am Anfang. Er steht fest mit Boden auf der Erde, ist ziemlich tüchtig und bescheiden. Mittlerweile interessiert er sich für die Oberflächliche Scheinwelt gar nicht.
Ich frage mich, wie ich reagieren würde, wenn ein Kind mich ständig unbegründet beschimpft hätte?
Die Figur von Carl hat mich allmählich genervt. Er ist meinetwegen die Negativste Figur im Buch. Schau mal, er belügt seine Mutter, er sei den Selbstmord begehen falls sie ihm kein Geld ausleiht oder demütigt seine Frau ständig wegen ihrem Akzent, weil sie sich um ihn kümmert oder sogar, weil sie unschön ist. Dabei macht er die ganze Welt wegen seiner Misserfolge auf Arbeit verantwortlich, nur nicht sich selbst.
Meiner Ansicht nach ist Carl dem Bischof gleichgültig im Sinne von Gewalt gegenüber eines anderem. Seine liebende Frau hat leider keinen Roman da geschrieben, um ihre Version zu zeigen.
Alexander, der in deiner aufrichtig kleinen Welt lebt, verfügt da über eine brennende Fantasie, da er in seinem ganzen Leben in einer Fantasie der Familie Ekdahl gelebt und kein anderes Leben kennt. Zudem war er vom erkrankten mädchenhaften Ismael ganz verführt. Was für eine Beziehung hatten sie hinter den Kulissen?
Ich war eigentlich von der aussagekräftigen Geschichte sehr beeindruckt, indem ich die Rollenverteilung und die Persönlichkeitswerte nochmal analysiert habe.
Die Großmutter hat ihre Kinder so großgezogen, dass sie immer in der 'kleinen Welt' unbekümmert geblieben sind. Ergo, sind sie mit 50 doch unreif geblieben, was auch die Zukunft für Alexander vorbereiten hätte, wenn er dem Bischof nicht begegnet hätte.
Außerdem ist die schreckliche Geschichte nur wegen Emilia passiert, da sie der Auslöser für den Hass und Anspannung zwischen dem Bischof und Alexander verantwortlich war, denn sie "wollte geliebt zu werden und die wahre Leidenschaft erleben". In der Tat, jedoch, hatte sie Lust auf Drama und guten Sex. Drama und Sex hat sie nun bekommen. Und im Buch hatte Sie mit Ihren Kindern einen Besuch beim Bischofs Haus vor dem Heirat, folglich war sie im Klaren, unter welchen groben Bedingungen die Familie lebt. Wer hat sie dazu verpflichtet, diesen Heirat zu begehen? Ihre Hormone, anscheinend.
Der Bischof wirkt wie der einziger logischer man im Buch, zumindest am Anfang. Er steht fest mit Boden auf der Erde, ist ziemlich tüchtig und bescheiden. Mittlerweile interessiert er sich für die Oberflächliche Scheinwelt gar nicht.
Ich frage mich, wie ich reagieren würde, wenn ein Kind mich ständig unbegründet beschimpft hätte?
Die Figur von Carl hat mich allmählich genervt. Er ist meinetwegen die Negativste Figur im Buch. Schau mal, er belügt seine Mutter, er sei den Selbstmord begehen falls sie ihm kein Geld ausleiht oder demütigt seine Frau ständig wegen ihrem Akzent, weil sie sich um ihn kümmert oder sogar, weil sie unschön ist. Dabei macht er die ganze Welt wegen seiner Misserfolge auf Arbeit verantwortlich, nur nicht sich selbst.
Meiner Ansicht nach ist Carl dem Bischof gleichgültig im Sinne von Gewalt gegenüber eines anderem. Seine liebende Frau hat leider keinen Roman da geschrieben, um ihre Version zu zeigen.
Alexander, der in deiner aufrichtig kleinen Welt lebt, verfügt da über eine brennende Fantasie, da er in seinem ganzen Leben in einer Fantasie der Familie Ekdahl gelebt und kein anderes Leben kennt. Zudem war er vom erkrankten mädchenhaften Ismael ganz verführt. Was für eine Beziehung hatten sie hinter den Kulissen?
April 30, 2021
Kui te oleksite ühel jahedal, aga päikselisel kevadpäeval sattunud pealinna ääremaile uitama, oleks teile avanenud üks omamoodi kummaline vaatepilt. Kolmekordsete paneelmajade vahel, võrdlemisi suvalises kohas maja taga, istub kulunud kollasel taburetil keegi heledapäine noor naine ja pühib pisaraid. Enda ümber ringi vaadates oleksite näinud, et väikeses hoovis pole puudel veel lehti, jättes tõesti esmapilgul võrdlemisi trööstitu mulje, aga oleksite üsna pea eluaseme lähedal oleva kreegi otsas märganud väikest kuldnokka, kes on põikpäiselt otsustanud oma tillukesest pugust välja pressida kõige valjema tervituse uuele aastajale ning veel enam - kui oleksite julgenud pea panna vastu maapinda ja sulgeda silmad, oleksite võinud vanduda, et isegi inimkõrv kuuleb, kuidas maa sees mühiseb kevad, mis valmis kõike kohe-kohe pidulikku roherüüsse riietama.
Nüüd, kui te oleksite lasknud end kanda ilusal ilmal ja linnulaulust tiinel õhul ning pöördunud selle naise poole küsides, et kas kõik on korras, oleks viimane teile dramaatiliselt otsa vaadanud ja jõuetult pobisenud, et kuidas saab üks raamat nii� õhh� olla?! Võibolla oleksite hetkeks märganud ta käes väikest, eimidagi ütleva kaanega teost, millel mustade ja raskete tähtedega kirjas BERGMAN.
Hiljem, võite ette kujutada, kuidas see naine mõtiskleb oma vaikses toas voodi peal lebades. Aken on lahti ja heledate, maani kardinate vahelt pressib tuppa kevadine tuuleiil mis jõuab lamajani. Ta pressib oma näo pehmesse patja, millel on nõrk pesupulbri lõhn - padi on jahe ning päikese käes lugemisest tedretäpiliseks muutunud näonahk on padja embuses tänulik. Juba tükk aega on ta püüdnud südant kuidagi vaigistada, aga südametega on juba ükskord nii, et mida rohkem sa seda vaigistada püüad, seda rohkem viimane vastu puikleb. Ta püüab kuidagi eneses sõnastada elu olemuse ilu ja valu, aga hing heliseb rahutult ja teda segab kohutav igatsus olla jälle väike, uitmõtted sellest, kui olulised on pere või traditsioonid, fantastilised pildid võrdlemisi õudsatest kujutelmadest ning naerupahvakud Alexandrile mõeldes ajavad kogu käimasoleva mõttemustri üldse sassi.
Valgusvihk on juba libisenud üle toa, voodi teise nurka, kui naine tunneb, et õhk toas on muutunud liigjahedaks ja ta otsustab üles tõusta. Akna juures seistes ta leiab, et vahel on nii, et kõike ei saa sõnadesse panna, sellistest raamatutest ei tohigi midagi täpselt kirjutada ja paneb akna kinni.
Nüüd, kui te oleksite lasknud end kanda ilusal ilmal ja linnulaulust tiinel õhul ning pöördunud selle naise poole küsides, et kas kõik on korras, oleks viimane teile dramaatiliselt otsa vaadanud ja jõuetult pobisenud, et kuidas saab üks raamat nii� õhh� olla?! Võibolla oleksite hetkeks märganud ta käes väikest, eimidagi ütleva kaanega teost, millel mustade ja raskete tähtedega kirjas BERGMAN.
Hiljem, võite ette kujutada, kuidas see naine mõtiskleb oma vaikses toas voodi peal lebades. Aken on lahti ja heledate, maani kardinate vahelt pressib tuppa kevadine tuuleiil mis jõuab lamajani. Ta pressib oma näo pehmesse patja, millel on nõrk pesupulbri lõhn - padi on jahe ning päikese käes lugemisest tedretäpiliseks muutunud näonahk on padja embuses tänulik. Juba tükk aega on ta püüdnud südant kuidagi vaigistada, aga südametega on juba ükskord nii, et mida rohkem sa seda vaigistada püüad, seda rohkem viimane vastu puikleb. Ta püüab kuidagi eneses sõnastada elu olemuse ilu ja valu, aga hing heliseb rahutult ja teda segab kohutav igatsus olla jälle väike, uitmõtted sellest, kui olulised on pere või traditsioonid, fantastilised pildid võrdlemisi õudsatest kujutelmadest ning naerupahvakud Alexandrile mõeldes ajavad kogu käimasoleva mõttemustri üldse sassi.
Valgusvihk on juba libisenud üle toa, voodi teise nurka, kui naine tunneb, et õhk toas on muutunud liigjahedaks ja ta otsustab üles tõusta. Akna juures seistes ta leiab, et vahel on nii, et kõike ei saa sõnadesse panna, sellistest raamatutest ei tohigi midagi täpselt kirjutada ja paneb akna kinni.
May 13, 2023
Helt okej bok men tror att mycket av charmen med handlingen porträtteras bäst genom film som media.
Ska bli spännande att se filmen nu
Ska bli spännande att se filmen nu
March 18, 2025
Ne pamtim da sam nekog lika više mrzio od Edvarda Vergérusa, a konkurencija je pozamašna.
December 8, 2023
Älskar filmen och älskar även nu boken!!
Jättemysig, har fått en större bild av alla detaljerna i filmen; måste kolla om på den NU!!!☺️🛋
Jättemysig, har fått en större bild av alla detaljerna i filmen; måste kolla om på den NU!!!☺️🛋
January 13, 2021
Ülihea Ülev Aaloe tõlge. Aga üks mõte jäi kajama. Tsitaat raamatust: Loomulikult polnud Oscar Ekdahli viimast soovi võimalik täita. Matused on elavate ja mitte surnute jaoks.
April 9, 2023
- všechno se může stát, všechno je možné a pravděpodobné. Čas a místo neexistují. Fantazie přede a tká nové vzory na bezvýznamném podkladě skutečnosti -
July 26, 2019
Jag tyckte inte särskilt mycket om den här boken. Lite för mycket antisemitism, misogyni, och ej utmanat, rent ut sagt hemskt beteende från ett flertal män i verket för min smak. Bergmans kvinnor hör till en av tre kategorier: de oattraktiva och därmed dåliga eller ointressanta, de gamla, och de vackra. De två första kategorierna kan möjligen överlappa, men aldrig någon av dessa med den senare.
Utöver detta tycker jag att tempot var ojämnt; nästan halva boken går åt till att beskriva den Ekdahlska "idyllen", medan en avgörande scen ges en dryg sida. Det går helt enkelt väldigt långsamt i början, med långa beskrivningar utan handling, men när handlingen väl kommer ikapp, ökar tempot så mycket att handlingen blir förbisprungen. Jag hade även uppskattat om mer av handlingen, särskilt i vissa kritiska ögonblick, hade kommit från Emelies synvinkel, eftersom det nu blev lite oklart vad som faktiskt hände och varför.
(Även lite på det oklara med varför det tredje syskonet, Amanda, inte är omnämnt i titeln, trots att både hon och Fanny har en mycket liten roll, och Alexander ges i princip allt utrymme som en fristående karaktär?)
Fanny och Alexander var på sina ställen uppslukande, men jag blev konsekvent för irriterad för att riktigt kunna sluka den tillbaka.
Utöver detta tycker jag att tempot var ojämnt; nästan halva boken går åt till att beskriva den Ekdahlska "idyllen", medan en avgörande scen ges en dryg sida. Det går helt enkelt väldigt långsamt i början, med långa beskrivningar utan handling, men när handlingen väl kommer ikapp, ökar tempot så mycket att handlingen blir förbisprungen. Jag hade även uppskattat om mer av handlingen, särskilt i vissa kritiska ögonblick, hade kommit från Emelies synvinkel, eftersom det nu blev lite oklart vad som faktiskt hände och varför.
(Även lite på det oklara med varför det tredje syskonet, Amanda, inte är omnämnt i titeln, trots att både hon och Fanny har en mycket liten roll, och Alexander ges i princip allt utrymme som en fristående karaktär?)
Fanny och Alexander var på sina ställen uppslukande, men jag blev konsekvent för irriterad för att riktigt kunna sluka den tillbaka.
February 3, 2020
Pidin töö pärast uuesti lugema ja ohsapagan, ikka geniaalne lugu. Ja Ülev Aaloe tõlge on kongeniaalne.
September 24, 2007
از نادر فیلم های برگمان است که از آن خوشم آمده، فیلم نامه را هم به همین دلیل خواندم. از فیلم های و برگمان، توت فرنگی های وحشی و مهر هفتم را بسیار دوست دارم، و گاهی هم سکوت را...
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