Persona (1966) 720p YIFY Movie

Persona (1966)

Persona is a movie starring Bibi Andersson, Liv Ullmann, and Margaretha Krook. A nurse is put in charge of a mute actress and finds that their personae are melding together.

IMDB: 8.11 Likes

  • Genre: Drama | Thriller
  • Quality: 720p
  • Size: 691.85M
  • Resolution: 1280*800 / 23.976 fpsfps
  • Language: English  
  • Run Time: 85
  • IMDB Rating: 8.1/10 
  • MPR: Normal
  • Peers/Seeds: 1 / 14

The Synopsis for Persona (1966) 720p

A young nurse, Alma, is put in charge of Elisabeth Vogler: an actress who is seemingly healthy in all respects, but will not talk. As they spend time together, Alma speaks to Elisabeth constantly, never receiving any answer. Alma eventually confesses her secrets to a seemingly sympathetic Elisabeth and finds that her own personality is being submerged into Elisabeth's persona.

The Director and Players for Persona (1966) 720p

[Director]Ingmar Bergman
[Role:]Margaretha Krook
[Role:]Gunnar Bj?rnstrand
[Role:]Liv Ullmann
[Role:]Bibi Andersson

The Reviews for Persona (1966) 720p

I am Bergman! Hear me bore!Reviewed bysc8031Vote: 5/10

I was hesitant to write anything about this film at first because I wasn't sure if my negative reaction was from moodiness or the result of disappointed expectations. I haven't seen too many Bergman films, but most of the ones I've seen present interesting ideas, but as though they were the most earth-shattering profound concepts ever conceived. It can be a bit much.

Okay, so here we have a movie that deals with similar themes as his later, better film, "Hour of the Wolf". Liv Ullman plays a popular actress who goes mute in the middle of a stage performance. A nurse, played by Bibi Andersson, is assigned to care for her. Eventually the two take a vacation to a cottage out on the beach (a typical Swedish method of recovery?) where a series of interactions begins to take their toll on their personalities. Here the film seems to investigate the line that is blurred between people's identities who are in close proximity over long periods of time.

It seems the characters are established exclusively in order to explore Bergman's philosophical meanderings and musings, which involve the significance of the interior and exterior views of the self. Elizabeth (Ullman) seems to be someone who recognizes her lack of a strong internal identity. Alma (Andersson) is the opposite and manifests a strong internal sense of self but a weak external influence. Maybe Bergman is also saying something about the role of the artist -- that their persona is stolen by so much giving, so much internal conjuration and performance. That over time, society consumes the artist's inner world by making their gifts into novelties and taking the inner spirit for granted.

But I don't really know and that's the problem. Many people say this movie is open to interpretation and that's what makes it so deep. But I think such an explanation only proves that this film is too broad or vague and relies too much on hind-sight and art-house praise. On some level it becomes too self-indulgent to really be enjoyable. I really suspect that many individuals like this movie because they view it with the same self-impressed state of mind as Bergman did when he made it.

I can certainly credit Bergman with having a knack for writing decent dialog and for being inspired in his film-making. He really is empowered to make films. But he also seems obsessed with his own perceptions, making complicated and fractured works about feelings and ideas that could be presented more concretely. But then again, many people like him for that, or his aesthetic, or a variety of other reasons that I haven't mentioned here. I enjoy some of his works, but this one didn't interest me too much.

PretentiousReviewed bykenjhaVote: 3/10

An actress who has stopped talking is cared for by a nurse. Perhaps disturbed that Fellini and Godard had overtaken him for the title of the most pretentious filmmaker in the world, Bergman shot back with this much-praised drama. The film opens with random images of a movie projector, a cartoon, an animal getting disemboweled, an aroused male organ, etc. that leave most viewers bowing to the pure genius of Bergman. The film was probably cathartic for Bergman, saving him some money on therapy sessions, but viewers should not be subjected to such heavy-handed nonsense. Andersson and Ullmann are good actresses and the only reason for watching this.

A definitive art school film and little moreReviewed byin1984Vote: 7/10

If I were to repeat that summary again and what you're reading now, merely changing the order of the words, so that you had to read it over and over again for 15 minutes, you'd understand one of the significant failures of this film.

For it's time, it was somewhat new and shocking, and because of its setting, it doesn't obviously date itself other than in the black & white film technology and clothing.

The film really would work far better as a short in a collection of shorts about society and women's changing roles in society. The most significant parts of it can easily be reduced to 15-30 minutes.

Sadly, it appears to be shown to a small audience of art/film history students who have very little film viewing experience and the feeling they must rate it highly for a teacher equally sheltered from film reality. We can see that by the number of reviews/rankings alone. If this were shown regularly on cable like some more popular movies, it would be ranked for what it is: an interesting artistic experiment, but far from one of the greatest films ever.

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