Shame is rather unique as a war film (or rather quite the anti-war film) in that it not only doesn't focus on the soldiers or politics involved (there is politics but not how you'd think it'd be shown),it deals with its two main subjects as the only two beings that can possibly be cared about at all in this brutal, decaying society they inhabit. Ingmar Bergman, in the midst of his prime, and following two other heavily psychological films, Persona and Hour of the Wolf, is far more interested in seeing what the effect of war has on usually civilized beings, that it brings out the worst in them, and also in a cathartic way is a reminder of what is truly crucial in living. His two key actors are frequent collaborators and friends Max von Sydow and Liv Ullman (as the Rosenbergs oddly enough),who are musicians living on a farm on an island (not too dissimilar from 'Wolf' when one thinks about it).

They see the tanks roll by, and a couple of old friends already getting worn down, but they try not to put it too much to heart; there's a sweet scene where the couple just talk, rather frankly but with heart (all one shot, as is repeated through the film is to perhaps create a sense of being provoked)...Then comes the trouble, including a fake film of propaganda made at gunpoint with the Rosenbergs, the psychological turmoil in being prisoners of war, and the terror involved with a 'friend' in the military (one of Gunnar Bjornstrand's most subtle works with Bergman). Needless to say this is not one of the easier films to go through in terms of Bergman's filmography, however for some it may be one of his more accessible works. His religious themes this time is kept very low key, even as the idea of keeping a sort of faith pervades the film's atmosphere. When there is war action it's shot in unconventional, quick ways (via great amigo Sven Nykvist).

And the deconstruction of the relationship between Jan and Eva is corresponded successfully with the backdrop of a chaotic kind of war-ground where the lines are never too surely drawn. In a way this film, shot right at the height of the worst times in Vietnam, is even more relevant for today; I couldn't help but see chilling, uncompromising coincidences between Iraq and elsewhere with some of Jan and Eva's scenes with the fighters, or those 'in charge'. The very last scene, by the way, is one of Bergman's very best, all around (acting, directing, lighting). It's not the kind of war picture (or, again, anti-war, I find little of the John Wayne spirit in this Svensk production) that I would recommend right off the bat to my friends all into Saving Private Ryan- it has a little more in kinship with Paths of Glory, looking at the effects of the hypocrisy of war. But in reality, like any of Bergman's "genre" films, it stands alone, however one that packs a wallop for the art-house crowd.

It came as no surprise to me that this was a very depressing and draining movie. After all, it's all about the impact of war on civilians AND it's by the "king of depression", Ingmar Bergman. In other words, so many of Bergman's works delve deep into human misery and angst and so this movie seems not so extraordinary coming from this director.

Even though it is more difficult to watch, the last half of the movie offers perhaps more insight into the lower depths of humanity. That's because initially, the main characters (Liv Ullman and Max Von Sydow) try to overcome adversity and are basically decent (though a bit stupid) people. However, as deprivation after deprivation occurs, they (especially Von Sydow) become less and less humane and more animalistic--doing ANYTHING in order to survive.

Fun to watch, NO FREAKING WAY! But, an interesting insight into human nature.

PS--1 thing I LOVED about this film is that it avoided a stupid movie chiche. When the couple sat down with the shopkeeper to drink a glass or wine, they FINISHED the wine completely! In most movies, they barely touch their drinks or leave them untouched. It drives me crazy, as I would NEVER leave a $4 alcoholic beverage without drinking it unless it tasted terrible or had a bug floating in it! BRAVO!

As a matter of fact, I also call it one of Ingmar Bergman's best, along with The Seventh Seal, Fanny and Alexander, Wild Strawberries, Cries and Whispers, Persona and The Passion of Anna. Not everybody perhaps is going to like it, whether you are familiar with Bergman or not, due to how bleak and lacking in optimism it is. But I don't consider this a bad thing in the slightest, seeing as this bleakness and nightmarish feel is very realistic and in a remarkably compelling way. As you'd expect from a Bergman film, his direction is superb and the quality of the production values are very high especially in the atmospheric cinematography. The lack of any music adds to the suspense and unrelenting power of the story, while the dialogue provokes thought and the story really hit me hard, not because of the subject matter's bleakness but more how realistically everything was portrayed. The characters are not characters that you like all at once or immediately relate to, nor are you intended to, Eva is the most sympathetic somewhat though I imagine that there will be those turned off by Jan's selfishness and treacherousness. These character traits are reflected perfectly in the performances. Three of the most prolific actors in Bergman's resume, and three of the best as well. With her ever expressive eyes and helped by Bergman's trademark handling of his female roles, Liv Ullmann is movingly tender while bringing a certain determination to her character. Max Von Sydow brings a magnetic quality to every performance he gives, and his performance in Shame is no exception, his face speaks volumes in particular. Gunnar Bjornstrand evokes chills as the Colonel, making you thoroughly believe in the corrupt nature of his character. All in all, Shame is a brilliant film, not one that everybody will love but not to the extent that it becomes polarising. 10/10 Bethany Cox