Brother Carl

Brother Carl

Language: English

Pages: 177


Format: PDF / Kindle (mobi) / ePub

According to Edgardo Cozarinsky, the Argentine film critic: "There is something recognizably Scandinavian about Brother Carl: un-easy, puzzling exchanges between its characters, with brooding, ever-present nature surrounding them. The interplay of formal speech and plain silence recalls Dreyer's Gertrud (rather than Bergman's The Silence and Persona). On closer inspection, though, it is unlike any other Scandinavian film. The miracles, unlike that in Dreyer's Ordet, are not 'real' ones. But they are the only kind these characters can afford. Brother Carl is an outsider's commentary, with very personal variations, on those motifs that filmgoers associate with the Scandinavian film tradition. And much of its elusive fascination depends on this flexible distance btween material that may seem familiar and the fresh look that establishes its own perspective."

Brother Carl was shot in and around Stockholm in 1970 and had its world premiere at the Cannes Film Festival in 1971. It was shows at the San Francisco, Chicago, and London film festivals, and had its U.S. theatrical premiere in 1972.

Note: This eBook edition does not contain images.

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shot, low angle, showing both MARTIN and KAREN. MARTIN, still in ‘flying position’ at the roof’s edge, looks down at KAREN for another moment, then relaxes and sits down at the top of the ladder. His tone is rueful, self-mocking. MARTIN I used to think I could fly. He starts down the ladder. MARTIN Everybody does. It’s so stupid! New shot, taken from inside the front room. Through the window, we see MARTIN reach the bottom of the ladder. He takes KAREN’S arm. They go out of the shot to the

an answer from KAREN (off-screen), but there is no word from her. MARTIN You think I’m cruel, don’t you? KAREN (Off) Yes. Wide two-shot of MARTIN and KAREN, both seen frontally, with MARTIN in the foreground. They are seated on two sides of a low square unpainted table on the right side of the front room. There are two beer cans, an atlas, two candlesticks, and a recorder on the table. KAREN gets up and, passing in front of MARTIN (between MARTIN and the camera, her torso blocking him for a

the shot. His torso is in the foreground; behind him and to his right (screen left) is LENA’S face and the upper part of her body. Holding on to his arm with both hands, she looks up imploringly at MARTIN’S face (off-screen). LENA Touch me. 44. Grounds of hotel. Still later: almost dawn Long shot of the hotel grounds. A gardener is watering some bushes in the left foreground. Sound of birds. Very long shot. LENA walks across the deserted lawn. The gardener is in the far background. Camera

whistle that hangs from his belt and blows on it very softly. ANNA, standing in front of him, cocks her head and listens. (She is facing screen left.) After blowing the whistle, CARL holds it to her ear. She listens, as if she still hears something. Then, as if suddenly distracted, CARL rises. He takes ANNA by the hand and walks back up an incline toward the near wall of the fort. The camera pans to the left, to follow them. ANNA walks with CARL, trustingly, sometimes looking up at him. CARL

normal expression. ANNA He’s heavy. Back to wide shot of ANNA (seen from the back) and CARL, lying inert, prone. Music (string quartet—cello prominent) starts again, very emphatic. Groaning, CARL rolls over convulsively and lies on his back, then becomes catatonic. His eyes are open but blank; he is breathing heavily. Back to medium long shot, brief, of MARTIN, KAREN, and PETER. KAREN’S eyes are flaming with excitement. MARTIN, standing apart from the other two, looks stricken. He alone knows

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