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FAITHLESS Send This Review to a Friend
With a script by Ingmar Bergman and direction by Liv Ullmann, "Faithless" is a stunning exploration of relationships that digs profoundly into desires, frailties and the sometimes drastic consequences of one's actions. Its creativity stems from the type of probing art long delivered by Bergman, with the directorial torch now carried by Ullmann. The basis here is Bergman's knowing script, which depicts a director-writer named Bergman (one therefore assumes references to his own life in the screenplay), who is recalling characters whom he either wants to commit to paper or simply reflect upon in his advanced years. Ullmann, who was so close to Bergman both in his films and in their personal lives, is precisely the right choice as the screenplay's interpreter. In addition, she brings her own wisdom and penetrating style to the eloquent and elegant material. This is a film so vastly superior to most of what we see that it is practically in a class by itself.
Veteran actor Erland Josephson plays the reflective Bergman with outward serenity, yet his face seems to register his thoughts and his pain as he dissects his life and feelings of guilt when confronted with the appearance of the characters who spring from his mind into our presence. The film's greatest performance belongs to the remarkable actress Lena Endre, who plays Marianne, a wife who plunges into a turbulent and destructive affair with a family friend, David, expertly and vividly played by Krister Henriksson. As we learn, David is really a stand-in for film's Bergman as a young man.
Endre merits every award in sight for her complex, searing portrait that expresses a range of emotions and conflicts. She has one particular monologue that reaches extraordinary acting heights and Ullmann focuses on her much the way Ullmann had been highlighted by Bergman in films in which she appeared. It is only January, but it is difficult to imagine another acting job that will top hers in 2001. Yet another strong performance is contributed by Thomas Hanzon as Markus, the betrayed husband in the adulterous situation that has effects beyond what the lovers expected.
"Faithless" is steadily intense, pulling the spectator into its orbit. The structure is masterly, bridging the gap between the character Bergman's thoughts and the physical presence of those under the microscope. An important extra dimension is provided by Isabelle (Michelle Gylemo), the pretty young daughter of Marianne and Markus. The suffering she endures listening to the arguments arising from the dramatic situation, and the danger that ultimately threatens her, is the counterpoint to the adult involvement. Her mere presence offers a sad and chilling reminder of the toll adult actions can take. Ullmann has made the point that the film is titled "Faithless" rather than "Unfaithful," since it deals more broadly with a contemporary condition that disturbs her--the lack of an ability to hold on to precious guidelines that leads people to think only about themselves without realizing the consequences of their actions on others. Yet the film avoids any moralistic tone.
Ullmann provides devastating close-ups at critical moments, but she also knows when to pull back and show us her characters in an entire frame, as in the scene in which the husband discovers his wife and her lover. The film has its humorous moments, as in life, but mainly concentrates on excavation into the main characters and their failings. The script contains harrowingly ugly moments, especially the husband's vindictive behavior at one point, and the humiliation of Marianne by her lover. As director, Ullmann never lets up on her probing and neither she nor the screenplay lets anyone off the hook. It adds up to exceptionally powerful dramatic filmmaking, and illustrates how far Ullmann has come in her new status as a director expanded from her renowned acting career. A Samuel Goldwyn Films--Fireworks Pictures release.
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