Episode 1:
I'm watching the miniseries of Fanny and Alexander for the first time, so going to give my thoughts on each part as I go.
It's been a while since I watched the theatrical version, but I remember it being my favourite of all the Bergman films I've seen so far. It's been long enough, though, that I'm watching this longer version now and can't know for sure what was included in the theatrical cut, and what's different here.
The opening hour-and-a-half episode is all about setting the mood and establishing the characters. It does both very well, and it's stunning to look at.
There's not much of a hook, but as set-ups go, it's very effective. From memory, the story does get a good deal more dramatic after this prologue/opening act.
Episode 2:
This is a fairly straightforward and brief episode within the overall miniseries version of Fanny and Alexander. After a sprawling cast found in the opening episode, it really zeroes in on the titular children, and how they react to their father suddenly passing away. The scene in the hospital is very powerful - the way Alexander reacts and that being the last thing his father sees is truly impactful and hard to watch.
As an individual episode, it feels like it's lacking something because of its brevity. But it's still good, I think it's the first time Fanny actually has any dialogue, and the last scene is haunting.
Episode 3:
Act 3 is a similar length to act 2, but I feel like it ends up feeling more complete, and is therefore even better. It's the first proper introduction to the bishop, Edvard, and instantly, there's something off about the guy. He doesn't do anything heinous at first, and maybe you can see how he would be charismatic to some, but there's something unsettling about him, and I think that's a testament to the writing and acting.
It takes the story forward, introduces more conflict, and also puts Alexander in a position that's clearly of distress to him, and seeing that play out here is sad and powerful. It's a strong middle chapter that sets the stage for the second half of this story very well.
Episode 4:
The bishop's true colours are well and truly revealed in part 4. He's shown here to have moved on from mere psychological torment, and now wields his ability to manipulate others alongside genuine physical violence. He's one of the most despicable villains I've seen recently, and he's all the more effective because he seems real, and not like a cartoon character; his villainy never quite goes over the top to the point where he becomes a "love-to-hate" character. His dynamic as a terrible stepfather reminds me of the villainous captain in 2006's Pan's Labyrinth.
Also good is that the mother now realises her new husband is terrible. Maybe it seems a little strange that her realisation happens off-screen, but maybe the sooner the better - it was always a little odd that she fell for him so hard in the first place, but I guess loneliness can be a terrible feeling.
I think him, the likability of the kids, and the genuinely tense conflict is the reason Fanny and Alexander is a captivating watch, and far more emotionally engaging than Bergman's other films (at least for me). Sometimes, his other ones can be well-made but feel a little distant, but this one hits hard, and does so over the course of many hours, too.
Episode 5:
Things come full circle here in a satisfying way. All the time spent on the family members in the first episode gets paid off here, as the family clashes with Edvard at last, and seeing him get yelled at by one of Oscar's brothers proved enjoyable to watch (even if the slimy devil came out on top by the scene's end).
The fantastical elements also make a return in full force during this dramatic final act. I don't remember how much they were part of the theatrical version, but it adds an interesting extra element here either way.
Overall, I think this is even better than the theatrical version. It moves well considering it's about five hours long, and the vast majority of scenes here felt important and not worth cutting (though I do remember the shorter cut also feeling fairly complete at the time, and still a very good watch).
At least as far as this extended cut goes, I feel pretty confident in saying this is Ingmar Bergman's best film, and well worth dedicating an afternoon to.
I'm watching the miniseries of Fanny and Alexander for the first time, so going to give my thoughts on each part as I go.
It's been a while since I watched the theatrical version, but I remember it being my favourite of all the Bergman films I've seen so far. It's been long enough, though, that I'm watching this longer version now and can't know for sure what was included in the theatrical cut, and what's different here.
The opening hour-and-a-half episode is all about setting the mood and establishing the characters. It does both very well, and it's stunning to look at.
There's not much of a hook, but as set-ups go, it's very effective. From memory, the story does get a good deal more dramatic after this prologue/opening act.
Episode 2:
This is a fairly straightforward and brief episode within the overall miniseries version of Fanny and Alexander. After a sprawling cast found in the opening episode, it really zeroes in on the titular children, and how they react to their father suddenly passing away. The scene in the hospital is very powerful - the way Alexander reacts and that being the last thing his father sees is truly impactful and hard to watch.
As an individual episode, it feels like it's lacking something because of its brevity. But it's still good, I think it's the first time Fanny actually has any dialogue, and the last scene is haunting.
Episode 3:
Act 3 is a similar length to act 2, but I feel like it ends up feeling more complete, and is therefore even better. It's the first proper introduction to the bishop, Edvard, and instantly, there's something off about the guy. He doesn't do anything heinous at first, and maybe you can see how he would be charismatic to some, but there's something unsettling about him, and I think that's a testament to the writing and acting.
It takes the story forward, introduces more conflict, and also puts Alexander in a position that's clearly of distress to him, and seeing that play out here is sad and powerful. It's a strong middle chapter that sets the stage for the second half of this story very well.
Episode 4:
The bishop's true colours are well and truly revealed in part 4. He's shown here to have moved on from mere psychological torment, and now wields his ability to manipulate others alongside genuine physical violence. He's one of the most despicable villains I've seen recently, and he's all the more effective because he seems real, and not like a cartoon character; his villainy never quite goes over the top to the point where he becomes a "love-to-hate" character. His dynamic as a terrible stepfather reminds me of the villainous captain in 2006's Pan's Labyrinth.
Also good is that the mother now realises her new husband is terrible. Maybe it seems a little strange that her realisation happens off-screen, but maybe the sooner the better - it was always a little odd that she fell for him so hard in the first place, but I guess loneliness can be a terrible feeling.
I think him, the likability of the kids, and the genuinely tense conflict is the reason Fanny and Alexander is a captivating watch, and far more emotionally engaging than Bergman's other films (at least for me). Sometimes, his other ones can be well-made but feel a little distant, but this one hits hard, and does so over the course of many hours, too.
Episode 5:
Things come full circle here in a satisfying way. All the time spent on the family members in the first episode gets paid off here, as the family clashes with Edvard at last, and seeing him get yelled at by one of Oscar's brothers proved enjoyable to watch (even if the slimy devil came out on top by the scene's end).
The fantastical elements also make a return in full force during this dramatic final act. I don't remember how much they were part of the theatrical version, but it adds an interesting extra element here either way.
Overall, I think this is even better than the theatrical version. It moves well considering it's about five hours long, and the vast majority of scenes here felt important and not worth cutting (though I do remember the shorter cut also feeling fairly complete at the time, and still a very good watch).
At least as far as this extended cut goes, I feel pretty confident in saying this is Ingmar Bergman's best film, and well worth dedicating an afternoon to.