Legendary Swedish director Ingmar Bergman officially "retired" from film-making in 1982 following the release of his highly acclaimed autobiographical drama, "Fanny and Alexander." That was supposed to have been his swan song, yet, since that time, he has made so many TV movies that have been released into theaters in the United States that, for Americans at least, it has pretty much been a "retirement" in name only.

His latest such film to be released here, "Saraband," is, technically, a sequel to his earlier masterwork, "Scenes From a Marriage," which was also a made-for-TV work that received theatrical distribution in the United States in 1974. "Saraband" reunites us with the now-divorced couple, Marianne and Johan, whom we are told have not really spoken to each other for almost thirty years. For reasons that she is not even able to fully explain to herself, Marianne (Liv Ullman) feels compelled to visit her ex-husband (Erland Josephson) and find out how he's doing and, perhaps, figure out if there still might be something between them. However, despite the fact that this new film is billed as an extension of the original "Marriage," Johan and Marianne wind up somewhat on the periphery of the real story which involves the incestuous relationship between Henrik (Borie Ahlstedt),Johan's son from a previous marriage, and his beautiful 19-year old daughter, Karin (Julia Dufvenius). Henrik is a classical musician whose beloved wife, Anna, has recently died. In some strange way, he clings to Karin almost as a replacement for Anna - even though there are hints that the incest began before Anna's death and that indeed Anna was aware of it - making it clear to his daughter that he would be utterly destitute if she were ever to leave.

This is obviously heady stuff for the viewer, but Bergman is, as always, so in control of his material that we are drawn into the conflict even though, initially, we may be repelled by what is taking place. In addition to the struggle between father and daughter, there is also the intense hatred between Johan and Henrik - so intense, in fact, that Henrik even admits he would take great pleasure in seeing his father stricken with a horrible illness that would cause him a slow and agonizing death. Caught in the middle of all this, as both observer and confidante, is Marianne, who can proffer only so much help and advice before she, too, risks becoming infected by the emotional disease that holds these people in its grip. Yet, of all the characters, Marianne appears to be the most stable and hopeful in her dealings with life. For instance, she can see the ugliness of much of Johan's way of interacting with people, yet she can still find a core of something worth loving buried deep inside the man.

Even for a Bergman chamber drama with just four people in its cast, "Saraband" is a remarkably stark piece of cinema and, as such, it may be off-putting to those unfamiliar with the director's work. The camera rarely moves outdoors, preferring instead to remain intensely focused on the characters who pour out at great length their darkest, deepest thoughts for us to muse over and examine. His is a complex tale of people quietly torn asunder by unhealthy obsessions, morbid self-interest and an inability to reach out in love and forgiveness even in the darkest moments of one's life. And as always with Bergman, the four performers transcend mere acting and literally become the characters on screen.

The decades certainly haven't mellowed Bergman's mood when it comes to the contemplation of death or the meaninglessness of existence, so make sure you're in the right frame of mind before taking on this film. But those who are true devotees of Bergman's work will certainly not want to miss "Saraband."

Technically speaking, this film is very well-made. The acting, cinematography and all the other aspects of this "little" film are excellent. However, it is important to point out that this type of film about people and relationships won't appeal to everyone--particularly those who demand a Hollywood-style film. Also, it is a sequel to director Bergman's ultra-famous SCENES FROM A MARRIAGE. Like this previous film, this movie was originally made for European TV but was later released as a feature film. Finally, while people might naturally expect that the relationship between the two original leads, Marianne and Johan (Liv Ullman and Erland Josephson),after the first portion of the film, the relationship between them seems to be only a starting point and the focus changes almost exclusively to the sick relationship between Josephson's son and grand-daughter. This wasn't BAD, but in a way it was sad because the scenes between Ullman and Josephson were wonderful and I wanted to see more or this--the acting was so real and these quiet moments were very slow but also very moving.

The bulk of the movie involves the sick relationship between Karin (the grand-daughter) and her father, Henrik. Since the death of Henrik's wife, he has placed all of his energy in training Karin to be a concert cellist. Instead of being his daughter, her needs are pretty much irrelevant to Henrik and she is a thing instead of a person. The viewer learns about this when Karin comes to her grandfather's house but finds that his ex-wife is the only one there. Although they have no blood relationship and don't know each other, Karin needs to talk and tells her how frustrating this relationship is with her father. Over the course of the film, however, you learn that this relationship is far more disturbing. Although it is not technically incestuous, the pair sleep in the same bed and late in the film, Henrik kisses Karin full on the mouth! Also, the emotional blackmail that he uses to control her is disturbing. This is a super-interesting film from a psychological standpoint though I am sure many in the audience will feel "creeped out" over it.

Sure, there's much more to this very talky movie than just this relationship. The interaction of Johan and Henrik is very sad--as both men are so totally self-absorbed and screwed up that they both seem incapable of a mature relationship with anyone. In addition, the film focuses a lot on despair and loneliness--certainly NOT surprising from a Bergman film! If you are looking for all the problems to be solved or have a deeper significance, then you WILL be disappointed. Alienation and despair are nothingness are indicative of Bergman's own philosophy and permeate the film. Exceptionally well-made but depressing--it's worth a look unless you have depression. In that case, the film's grimness might drive you over the edge!

I love and admire Ingmar Bergman and his films, and I was intrigued but also somewhat wary of watching Saraband. By all means, I'd see anything in regard to Bergman but when you hear swan-song that can go either way(and not just in film). Fortunately, Saraband is a good swan-song. For me it is not among Bergman's best films(The Seventh Seal, Wild Strawberries, Fanny and Alexander, Cries and Whispers and Persona),with some occasional moments of stilted dialogue and the ending that leaves a number of questions unanswered as to why Johan and Henrik hated each other so much. However, just because I say that it doesn't make Saraband not worth watching. The visuals are as ever from Bergman stunning, and his direction is effective and done in a subtle, careful and loving way. The music is haunting also, while some of the dialogue does have a sharp and wounding aura to it and the story is quietly intense. The performances are really powerful, Erland Josephson and Liv Ullman give very expertly performances, moving, intense and expressive. But Börje Ahlstedt also deserves plaudits as well, his character is not easy to identify with at first but Ahlstedt is very commanding and almost darkly human and the tension is done convincingly. Julia Dufvenius is promising also as Karin. All in all, a well-performed, intense and moving swan-song. 8/10 Bethany Cox