---
product_id: 4769137
title: "Saraband"
brand: "erland josephsonliv ullmanningmar bergman"
price: "$33.24"
currency: USD
in_stock: true
reviews_count: 9
url: https://www.desertcart.us/products/4769137-saraband
store_origin: US
region: United States of America
---

# Saraband

**Brand:** erland josephsonliv ullmanningmar bergman
**Price:** $33.24
**Availability:** ✅ In Stock

## Quick Answers

- **What is this?** Saraband by erland josephsonliv ullmanningmar bergman
- **How much does it cost?** $33.24 with free shipping
- **Is it available?** Yes, in stock and ready to ship
- **Where can I buy it?** [www.desertcart.us](https://www.desertcart.us/products/4769137-saraband)

## Best For

- erland josephsonliv ullmanningmar bergman enthusiasts

## Why This Product

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## Description

Product Description               An impulsive divorcée bears witness to the tortured relationship between her bitter ex-husband, hisgrief-stricken son and troubled 19-year-old granddaughter.                  .com               You know you're back in Bergman country when a character begins speaking to the camera right from the start. In the prologue to Saraband, which was made for Swedish television, Marianne (Liv Ullmann) recounts the changes that have taken place since Scenes From a Marriage, the miniseries-turned-feature that introduced the central couple. Johan (Erland Josephson) has retired from academia, while she continues to practice family law. Since splitting up for good, they haven't seen each other in over 30 years. Marianne decides it's time to reconnect and makes plans to visit Johan at his remote cottage. While they catch up, she gets to know his estranged son, Henrik (Börje Ahlstedt), and beloved granddaughter, Karin (Julia Dufvenius), who are staying in the guest house. Both are still reeling from the death of Henrik's wife, Anna, two years ago. Although she never appears--she's represented by a portrait of Bergman's late wife, Ingrid, to whom the film is dedicated--Anna's ghost haunts them all (even Marianne, who never knew her). Divided into 10 parts plus the prologue and epilogue, Saraband looks more like a play than a film, which is not necessarily a drawback (it's in keeping with the "scenes" of the original series). The focus is on the characters and their words. They could be anywhere at any time; their problems are personal yet universal. For two hours, the outside world does not exist. In the complete universe Bergman has created for them, it doesn't need to. As much a love letter to his wife as to his muse, Ullmann--who has rarely been better--Bergman has stated that Saraband will be his final work. --Kathleen C. Fennessy

## Product Details

- **Genre:** Drama
- **Format:** Subtitled
- **Contributor:** Börje Ahlstedt, DANMARKS RADIO TV BYEN; Nordic Film & TV Fund; Nordic TV Collaboration Fund; Osterreichischer Rundfu, Erland Josephson, Gunnel Fred, Ingmar Bergman, Julia Dufvenius, Liv Ullmann
- **Language:** Swedish
- **Runtime:** 1 hour and 52 minutes

## Images

![Saraband - Image 1](https://m.media-amazon.com/images/I/91jtP7zl5FL.jpg)
![Saraband - Image 2](https://m.media-amazon.com/images/I/91xSwtxJ9JL.jpg)

## Customer Reviews

### ⭐⭐⭐⭐ 







  
  
    Women's Faces
  

*by R***Z on Reviewed in the United States 🇺🇸 on January 28, 2006*

For Bergman devotees like me, any morsel tossed our way by the great master is a treat. Saraband is a good deal more than a morsel, but not the true masterpiece others are claiming. And it takes some investment in Bergman's biography and past works to truly appreciate its depth, I think.As has been pointed out, the film is a tribute to Bergman's late wife, Ingrid (not the actress) and his mourning for her; the film is dedicated to her, and the photograph of "Anna" that is lingered on lovingly by the characters throughout the film is actually a portrait of Ingrid. (Bergman made a short film--never released in the US--called "Karin's Face"--a tribute to his complicated relationship with his mother, where her photographic portrait is similarly examined by the film camera.)As with Fanny & Alexander, I was intrigued to see how Bergman quotes his past works and themes in this film.  The Bach saraband that haunts the soundtrack is the same piece of music he used in Cries and Whispers, when the two estranged sisters temporaily make contact in a montage of carressing hands and faces (Liv Ullmann and Ingrid Thulin), silent except for the lone cello of Bach's saraband.Marianne's institutionalized daughter echoes that of Ingrid (the actress) Bergman's character's in Autumn Sonata. The concluding Scene 10 in Saraband is titled Vargtimme (translated as The Hour Before Dawn)which is also the Swedish title of Bergman's 1968 film "Hour of the Wolf," which also begins and ends with Liv Ullmann speaking intimately to the camera (when she was pregnant with Bergman's daughter).As in The Passion of Anna and Cries and Whispers, a character's secrets are revealed in letters and diaries--things they could never say "face to face."It is a melancholy treat to see Liv Ullmann and Erland Josephson together on screen again (much like seeing Marcello Mastroianni and Anita Ekberg reunited in Fellini's Intervista many decades later to watch their youthful selves in the famous Trevi Fountain scene in La Dolce Vita). I was reminded how much I've missed Ullmann's magnificent face, now wrinkled with age and experience, which has been absent from the movie screen for far too long.To me it's the film's themes of retrospection, regret, loss and becoming reconciled (or not) with one's past that touched me deeply, something the nearing-90 year-old Bergman is obviously engulfed by.There are other things that disturbed or at least distracted me in Saraband. I must say, as someone else pointed out here, I too was puzzled by the "bad math" of Johann and Marianne's history; their ages don't match up with their stated years married and apart. And maybe it's my American puritanical heritage raising its ugly head as I age, but do middle-aged men really sleep in the same bed with their adult daughters in Sweden? Yes, Dad sees Karin as a replacement for his lost wife, but such overt incestuous overtones are over-the-top and unnecessary.And I have never bought into Bergman's trite "crippled child" metaphor. Yes, we are all "institutionalized" in some way by our parents' actions or inactions, but doesn't he make that point without having to rely on such obvious symbols? Nevertheless, I was moved to tears in the epilogue when Marianne reveals that following her time with Johann and his family, she truly touched her instituionalized daughter [the crippled child metaphor] for the first time. It's Ullmann's performance that overcomes the contrivance.The other thing that makes this film outstanding is Bergman's continued reliance on close-ups--and his camera especially loves women's faces.  Even without his now-ailing cinematographer Sven Nykvist, Bergman tells as much about the human condition in close-ups of human faces than all the combined dialogue or contrived metaphors of his and others' films combined.One of the few bonuses in this DVD is a "Making of..." documentary.  It's intriguing to see how Bergman works with his actors and crew and we learn more about the film's conception in his discussions with them, especially in his recollection of a conversation he had with Erland Josphson that helped him cope with the loss of his wife.  And it's interesting, too, to see how Bergman has adapted to the digital age--quite different from the earlier "Making of..." docs of his creation of Fanny & Alexander and earlier movies where film was the medium. And I was suprised to see that most of the outdoor scenes were created in the studio--convincingly so.Overall, not Bergman's best, but well worth the investment and a fitting capstone to an amazing career.

### ⭐⭐⭐⭐ 







  
  
    If Bergman is a great director, then He has been fortunate to have ...
  

*by K***E on Reviewed in the United States 🇺🇸 on September 22, 2017*

Liv Uhlman has been the most moving and the most subtle actor I have ever seen. In this film there is a question about a precious cello. If Bergman is a great director, then He has been fortunate to have an instrument such as Uhlman. The movements of her face are better than any plot.

### ⭐⭐⭐⭐⭐ 







  
  
    A sequel like no other
  

*by K***G on Reviewed in the United States 🇺🇸 on June 10, 2012*

We return to the couple from `Scenes From a Marriage' 30 years later. They haven't seeneach other in all that time. Marianne, still working as a lawyer, goes to visit Johan, nowliving off a rich inheritance in a house in the woods. The film examines the tremendousand sad complexity of Johan's life, and the further unsettling influence of Marianne'sreturn to the scene.While there is a surface pleasure in seeing the two together again, we realize how poisonousJohan has become, allowing his 61 year old son from an earlier marriage, and his granddaughterto live in a separate house on the estate, although he hates his son. The granddaughter is in turntrapped by a desperate, near incestuous relationship with her father. In a series of simple, honest,and very powerful scenes, we watch these characters bounce off of each other in various combinations.And while all of them are plagued by deep, perhaps unforgivable flaws, I always understood thatBergman felt for them, and wished the fragments of humanity buried inside could free them. I didn'tfeel the film was as dark as many people for this reason. Like a directing priest, Bergman hates the sin,but not the sinner, so these people, so easy to hate, or at least dismiss on paper, keep us interestedand emotionally involved, praying they will find their way out of the darkness. A strong and powerfulwan song from a great film-maker, making his last film at 85.

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*Last updated: 2026-02-22*