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'''''Persona''''' is a 1966 Swedish [[avant-garde]] [[psychological drama]] film{{refn|group=n|name="Genre"|The film has been described as [[psychological drama]],<ref name="Hooton"/><ref name="Levy"/><ref name="Collin"/> [[horror film|horror]],{{sfn|Michaels|2000|p=17}}{{sfn|Gado|1986|p=339}} [[psychological horror]],<ref>{{cite web |url=http://artsatmichigan.umich.edu/ink/2016/01/25/what-does-it-mean-to-like-a-movie/ |title=What Does It Mean to Like a Movie? |last=Rosenstock |first=Benjamin |publisher=[[University of Michigan]] |date=25 January 2016 |access-date=7 October 2017 |url-status=live |archive-url=https://web.archive.org/web/20170628221741/http://artsatmichigan.umich.edu/ink/2016/01/25/what-does-it-mean-to-like-a-movie/ |archive-date=28 June 2017}}</ref> [[melodrama]],{{sfn|Orr|2000|pp=86–87}} and [[experimental film]],<ref name="Wilmington">{{cite web |url=http://articles.chicagotribune.com/2006-03-17/entertainment/0603170242_1_star-persona-ingmar-bergman |title=Ingmar Bergman's 1966 'Persona' a successful personal experiment |last=Wilmington |first=Michael |work=[[The Chicago Tribune]] |date=17 March 2006 |access-date=5 October 2017 |url-status=live |archive-url=https://web.archive.org/web/20171006112721/http://articles.chicagotribune.com/2006-03-17/entertainment/0603170242_1_star-persona-ingmar-bergman |archive-date=6 October 2017}}</ref>{{sfn|Young|2015|p=127}}<ref>{{cite web |url=https://www.bbc.co.uk/gloucestershire/films/reviews/n_s/persona.shtml |title=Persona (2003) |last=Dawson |first=Tom |work=[[BBC]] |date=24 January 2003 |access-date=5 October 2017 |url-status=live |archive-url=https://web.archive.org/web/20171124005105/http://www.bbc.co.uk/gloucestershire/films/reviews/n_s/persona.shtml |archive-date=24 November 2017}}</ref> with elements to appeal to patrons of [[art film]]s.{{sfn|Michaels|2000|p=5}}{{sfn|Wartenberg|2008}} It has also been categorized as a [[tragedy]], with Professor Robert Boyers writing "''Persona'' is a film, but it is certainly our purest modern example of tragic art".<ref>{{cite journal |last1=Boyers |first1=Robert |title=Bergman's Persona: An Essay on Tragedy |journal=Salmagundi |year=1968 |volume=2 |issue=4 (8) |pages=3–31 |jstor=40546476}}</ref>}} written, directed, and produced by [[Ingmar Bergman]] and starring [[Bibi Andersson]] and [[Liv Ullmann]]. The story revolves around a young nurse named Alma (Andersson) and her patient, well-known stage actress Elisabet Vogler (Ullmann), who has suddenly stopped speaking. They move to a cottage, where Alma cares for Elisabet, confides in her, and begins having trouble distinguishing herself from her patient.
Characterized by elements of [[psychological horror]], ''Persona'' has been the subject of much critical analysis, interpretation, and debate. The film's exploration of duality, insanity, and [[Identity (social science)|personal identity]] has been interpreted as reflecting the [[Jungian]] theory of ''[[persona (psychology)|persona]]'' and dealing with issues related to filmmaking, vampirism, homosexuality, motherhood, abortion, and other subjects. The experimental style of its prologue, storytelling, and
Bergman wrote ''Persona'' with Ullmann and Andersson in mind for the lead roles and the idea of exploring their identities, and shot the film in [[Stockholm]] and [[Fårö]] in 1965. In production, the filmmakers experimented with effects, using smoke and a mirror to frame one scene and combining the lead characters' faces in post-production for one shot. Andersson defended a sexually explicit monologue in the screenplay and rewrote portions of it.
When first released, ''Persona'' was edited because of its controversial subject matter. It received positive reviews at its initial release with Swedish press outlets coining the word ''Person(a)kult'' to describe its enthusiastic admirers. It won [[Guldbagge Award for Best Film|Best Film]] at the [[4th Guldbagge Awards]], and was Sweden's entry for the [[Academy Award for Best Foreign Language Film]]. The censored content was reinstated in English-language restorations in 2001. Over time, ''Persona'' has received widespread critical acclaim, especially for Bergman's direction, screenplay, and narrative, Nykvist's cinematography, and Andersson's and Ullmann's performances. Many critics consider ''Persona'' one of the [[List of films considered the best|greatest films ever made]], Bergman's [[Masterpiece|magnum opus]], and a work of art of [[Experimental film|experimental cinema]], and Andersson's and Ullmann's performances two of the best female performances in movie history. ''Persona'' is also considered one of the most difficult and complex films. It was ranked fifth in ''[[Sight & Sound]]''{{'}}s 1972 poll and 17th in 2012. It also influenced many directors, including [[Robert Altman]]
==Plot==
A projector begins screening a series of images, including a [[crucifixion]], a spider and the killing of a lamb, and a boy wakes up in a hospital or [[morgue]]. He sees a large screen with a blurry image of two women. One of the women may be Alma, a young nurse assigned by a doctor to care for Elisabet Vogler. Elisabet is a stage actress who has suddenly [[muteness|stopped speaking]] and moving, which the doctors have determined is the result of willpower rather than physical or mental illness. In the hospital, Elisabet is distressed by television images of [[Thích Quảng Đức|a man's self-immolation]] during the [[Vietnam War]]. Alma reads her a letter from Elisabet's husband that contains a photo of their son, and the actress tears the photograph up. The doctor speculates that Elisabet may recover better in a cottage by the sea, and sends her there with Alma.
At the cottage, Alma tells Elisabet that no one has ever really listened to her before. She talks about her fiancé, Karl-Henrik, and her first affair. Alma tells a story of how, while she was already in a relationship with Karl-Henrik, she [[Sun tanning|sunbathed]] in the nude with Katarina, a woman she had just met. Two young boys appeared, and Katarina initiated an [[orgy]]. Alma became pregnant, had an [[abortion in Sweden|abortion]], and continues to feel guilty.
[[File:Stroop Report - Warsaw Ghetto Uprising 06b.jpg|thumb|alt=Iconic photograph of Jewish women and children being herded out of a building|Stroop Report photograph, found by Elisabet, of Polish Jews captured after the Warsaw Ghetto uprising]]
Alma drives to town to mail their letters
One night, Alma hears a man outside calling for Elisabet; it is Elisabet's husband. He calls Alma "Elisabet" and, though the nurse tells him he is mistaken, they have sex. Alma meets with Elisabet to talk about why Elisabet tore up the photo of her son. Alma tells much of Elisabet's story: that she wanted the only thing she did not have, motherhood, and became pregnant. Regretting her decision, Elisabet attempted a failed [[self-induced abortion]] and gave birth to a boy whom she despises, but her son craves her love. Alma ends the story in distress, asserting her identity and denying that she is Elisabet. She later coaxes Elisabet to say the word "nothing", and leaves the cottage as a crew films
==
* [[Bibi Andersson]] as Alma, the nurse
* [[Liv Ullmann]] as Elisabet Vogler, the actress
* [[Margaretha Krook]] as The Doctor
* [[Gunnar Björnstrand]] as Mr. Vogler
* [[Jörgen Lindström]] as The Boy, Elisabet's son
==Themes and interpretations==
''Persona'' has been subject to a variety of interpretations. According to Professor [[Thomas Elsaesser]], the film "has been for film critics and scholars what climbing [[Mount Everest|Everest]] is for mountaineers: the ultimate professional challenge. Besides ''[[Citizen Kane]]'', it is probably the most written-about film in the canon". Critic [[Peter Cowie]] wrote, "Everything one says about ''Persona'' may be contradicted; the opposite will also be true". Academic Frank Gado called Cowie's assessment "patent nonsense", but agreed there was "critical disarray"; editor Lloyd Michaels said that although Cowie exaggerated somewhat, he welcomed the "critical
Michaels summarized what he calls "the most widely held view" of ''Persona'':{{sfn|Michaels|2000|p=16–19}} that it is "a kind of modernist horror movie".{{sfn|Michaels|2000|p=17}} Elisabet's condition, described by a doctor as "the hopeless dream to be", is "the shared condition of both life and film art".{{sfn|Michaels|2000|p=18}} Film scholar [[Marc Gervais]] has suggested several possible interpretations: "a metaphor of the subconscious or unconscious", "one personality consuming the other", "the fusing of two personalities into one", or "the different sides of the same personality fleetingly merging".{{sfn|Gervais|1999|p=96}} Gado suggested that ''Persona'' was "an investigation of [[schizophrenia]], a story about lesbian attraction, or a parable about the artist".{{sfn|Gado|1986|p=339}}
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===Identity and duality===
[[File:Richard Mansfield Jekyll.png|150px|thumb|left|alt=Double-exposure photograph of late-19th-century actor Richard Mansfield as Dr. Jekyll and Mr. Hyde|Professor [[Irving Singer]] compared Bergman's merged characters to [[Dr. Jekyll and Mr. Hyde (character)|Dr. Jekyll and Mr. Hyde]].]]
Analysis has focused on the characters' resemblance, demonstrated in shots of overlapping faces in which one face is visible and part of another is seen behind it, suggesting the possibility that the characters are one,<ref name="Elsaesser"/> and their duality.{{sfn|Vermilye|2002|p=124}}{{sfn|Ketcham|1986|p=242}} Critic [[John Simon (critic)|John Simon]] commented, "This duality can be embodied in two persons, as it is here, but it has a distinct relevance to the contradictory aspects of a single person".{{sfn|Simon|1974|p=224}} If they are one person, the questions exist of whether Alma is fantasizing about the actress she admires, Elisabet is examining her psyche, or the boy is trying to understand his mother.{{sfn|Steene|2000|p=40}} [[Susan Sontag]] suggested that ''Persona'' is a series of variations on the theme of "[[Doubling (psychodrama)|doubling]]".{{sfn|Sontag|
Gado saw ''Persona'' as a "double-threaded process of discovery involving motherhood".{{sfn|Gado|1986|p=342}} Elisabet's withdrawal into silence could be her rejection of motherhood, the only role the actress could not slough off. The nurse realizes that she has done what Elisabet tried and failed to do: erase a child from her life by abortion.{{sfn|Gado|1986|p=343}} Psychiatrist Barbara Young viewed the boy in the morgue in the film's prologue as a stand-in for Bergman, in a morgue he remembered, reaching out to his mother. Young compared Bergman's relationship with his mother, Karin, to Alma ("hungry for someone to listen to her and to love her") and Elisabet ("ravenous for precious time").{{sfn|Young|2015|p=128}}{{refn|group=n|name="Family"|Themes of family "neglect and abandonment" run in Bergman's works, including ''Persona'', ''Through a Glass Darkly'', ''The Silence'', ''[[The Passion of Anna]]'', ''Autumn Sonata'' and ''[[From the Life of the Marionettes]]''.{{sfn|Orr|2014|p=24}} }}
About the theme of duality, author Birgitta Steene wrote that Alma represents the soul and Elisabet is a "stern" goddess.{{sfn|Steene|2000|p=42}} Theologian Hans Nystedt called Elisabet a symbol of God, and Alma symbolic of mortal consciousness.{{sfn|Steene|2005|p=271}} Coates noted the "female face" or "near-Goddess" succeeding the God previously studied by Bergman, referring to Jungian theories to examine the themes of duality and identity; two different people, with a "grounding in
===Psychology===
[[File:
''Persona''{{'s}} title reflects the Latin word for "mask" and [[Carl Jung]]'s theory of ''[[persona (psychology)|persona]]'', an external identity separate from the soul ("[[wiktionary:alma|alma]]").<ref name="Parkinson">{{cite web |url=
Alma's secret is revealed in her orgy monologue, and critic [[Robin Wood (critic)|Robin Wood]] related it to a combination of shame and nostalgia perhaps indicating the character's [[sexual liberation]]. According to Wood, the incident touched on unfaithfulness and [[Child sexuality|juvenile sexuality]];{{sfn|Wood|2012|p=265}} in Swedish, the young boys are called "''[[wiktionary:pojkar|pojkar]]''" and are in need of coaching.{{sfn|Wood|2012|pp=265–266}} [[Arnold Weinstein (scholar)|Arnold Weinstein]] wrote that Alma's story is the hardest-hitting example of the "cracks" in the character's mask, belying her persona of a nurse and leading to a "collapse of self".{{sfn|Weinstein|2008|p=302}} Her monologue is so intense that it verges on pornography, although there is no depiction of the sexual escapade.{{sfn|Weinstein|2008|p=302}}
Cinema historian [[P. Adams Sitney]] summarized the story as following the course of [[psychoanalysis]]: a referral, followed by the first interview, disclosures, and the discovery of the patient's root problem.{{sfn|Sitney|1990|p=131}} According to Sitney, the story seems to begin from Alma's point of view; after Elisabet compares their hands, her point of view is revealed as the source of the story.{{sfn|Sitney|1990|p=129}}
Another possible reference to psychology is that when Elisabet falls mute, the play she is in is ''Electra'' by [[Electra (Sophocles play)|Sophocles]] or [[Electra (Euripides play)|Euripides]].{{sfn|Sitney|1990|p=143}} According to Wood, Bergman did not focus on [[Greek tragedy]] in his work but the character of [[Electra]] inspired the idea of the [[Electra complex]].{{sfn|Wood|1998|p=251}} Sitney felt that Bergman's choice of play related to "sexual identities", a key concept in psychoanalysis.{{sfn|Sitney|1990|p=143}}
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===Art and theatre===
''[[Persona]]'' is the [[Latin language|Latin]] word for "mask" and
Elisabet is a stage actress and, according to Singer, is seen in "mask-like makeup" suggesting a "theatrical persona". Singer wrote that Elisabet wears "thick and artificial eyelashes" even when she is not acting.{{sfn|Singer|2009|pp=171–172}} Scholar [[Egil Törnqvist]] noted that when Elisabet is onstage as Electra, she looks away from the theatre audience and breaks the [[fourth wall]] by looking at the camera. According to Törnqvist, Elisabet makes a fist, symbolizing her revolt against the notion of meaningful performance.{{sfn|Törnqvist|2003|p=207}} Singer concluded that although Elisabet develops a very personal relationship with Alma, she cannot shed her ''persona'' as an actress and will remain lonely with "the hopeless dream of being".{{sfn|Singer|2009|p=172}}
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Although psychologist Daniel Shaw interpreted Elisabet as a vampire and Alma as her "sacrificial lamb",{{sfn|Young|2015|p=126}} Bergman replied when asked if Alma was entirely consumed:
{{blockquote|No, she has just provided some blood and meat, and some good steak. Then she can go on. You must know, Elizabeth is intelligent, she's sensible, she has emotions, she is immoral, and she is a gifted woman, but she's a monster
==Style==
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[[File:Liv Ullmann 1966 (cropped).jpg|175px|thumb|left|alt=A smiling Liv Ullmann in 1966|Bergman believed in the importance of the face,{{sfn|Tiffin|2015}} and [[Liv Ullmann]] said that she was cast because of hers.{{refn|group=n|name="Casting"}} ]]
The BFI called ''Persona'' "stylistically radical", noting its use of close-ups.<ref name="BFIIntro">{{cite web |url=http://www.bfi.org.uk/films-tv-people/4ce2b6b2deaa5 |title=Persona (1966) |publisher=[[British Film Institute]] |access-date=5 October 2017 |url-status=
Scenes creating a "strange" or "eerie" effect include Elisabet entering Alma's room, where it is uncertain if she is [[sleepwalking]] or Alma is having a dream, and Mr. Vogler having sex with Alma; it is uncertain if he mistook her for Elisabet.{{sfn|Gervais|1999|p=95}} Other scenes are "dreamlike—sometimes nightmarish".{{sfn|Vermilye|2002|p=122}} The story's small scale is supplemented with references to external horrors, such as images of self-immolation—included in the opening sequence and the hospital scene—and the Holocaust photograph, the subject of increasing close-ups.{{sfn|Macnab|2009|p=146}}
Biographer Jerry Vermilye wrote that despite experimenting with
According to Vineberg, Ullmann and Andersson's acting styles are dictated by the fact that Andersson does nearly all the talking. She delivers [[monologue]]s, and Ullmann is a "naturalistic [[mime]]".{{sfn|Vineberg|2000|pp=117–118}} A notable exception is when Elisabet is coaxed into saying the word "nothing", which Vineberg called ironic.{{sfn|Vineberg|2000|p=118}} Elisabet speaks only 14 words; Bergman said, "The human face is the great subject of the cinema. Everything is there".{{sfn|Tiffin|2015}} Vineberg wrote that the performances use the "mirror exercise", in which the actresses look directly at each other; one makes facial movements which the other tries to imitate.{{sfn|Vineberg|2000|p=122}} Ford wrote that Ullmann's performance is defined by "twitching lips, ambivalent gazes and vampyric desire".<ref name="HamishFord"/>
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{{listen|type=music|filename=Bach Emaj Violin Concerto - 2. Adagio sempre Piano.ogg |title=Bach's Violin Concerto in E major |description=Performed by the Advent Chamber Orchestra with violinist [[Jacques Israelievitch]]}}
Music and other sounds also define Bergman's style. This includes the prologue, with a "discordant" score accompanied by dripping and a ringing telephone.{{sfn|Macnab|2009|p=145}} In the scene where Elisabet meets Alma in her bedroom, foghorns accompany Werle's music.{{sfn|Luko|2015|p=140}} Musicologist Alexis Luko described the score as conveying "semantic meaning" with ''diabolus in musica'' ("the devil in music"), a common style in horror cinema.{{sfn|Luko|2015|p=141}} The addition of a foghorn indicates a meeting of "diegetic and non-diegetic", complementing the breaking of the fourth wall when Alma and Elisabet look at the audience.{{sfn|Luko|2015|p=142}} The music Elisabet hears in the hospital, Bach's [[Violin Concerto in E major (Bach)|Violin Concerto in E major]], is meant to be "nice and soothing" and divert Elisabet from her mental torment.{{sfn|Wood|1998|p=251}} It fails to comfort; Wood calls it one of Bach's "most somber and tragic utterances", and the scene's lighting darkens accordingly.{{refn|group=n|name="Bach"|Wood, in this analysis of the music of [[Johann Sebastian Bach]] in ''Persona'',{{sfn|Wood|2012|pp=258–259}} contrasted it to the use of Bach throughout Bergman's filmography, such as ''The Silence'' where the [[Goldberg Variations]] play; ''Cries and Whispers'' where two sisters touch affectionately to cello music; and ''Autumn Sonata'' where it is used in a moment of unity, to conclude Bergman generally used Bach to signify "a possible transcendent wholeness". Alongside ''Persona'', ''Through a Glass Darkly'' provides another exception to this usage.{{sfn|Wood|2012|p=258}} }} According to Luko, Elisabet's lack of sound (muteness) makes her fit "the cinematic profile of a powerful, pseudo-omniscient mute".{{sfn|Luko|2015|p=145}}
==Production==
===Development===
[[File:Interiör från Sophiahemmet - Nordiska Museet - NMA.0053286.jpg|200px|thumb|alt=Old photograph of a hallway with people sitting|''Persona'' was written at the [[Sophiahemmet]] hospital.]]
According to Bergman, the story had its roots in a chance encounter with past collaborator [[Bibi Andersson]]{{refn|group=n|name="Andersson"|Bibi Andersson first starred in Bergman's films in 1957 (''[[The Seventh Seal]]'' and ''[[Wild Strawberries (film)|Wild Strawberries]]'') and ''[[The Devil's Eye]]'' in 1960, with her saying that he often cast her in naïve roles. She later appeared in ''[[The Passion of Anna]]'' in 1969 and ''[[Scenes from a Marriage]]'' in 1973.<ref name="Callahan"/> }} in a [[Stockholm]] street. Andersson, who was with Liv Ullmann, introduced Ullmann to him.{{sfn|Bergman|2014|p=26}} Ullmann placed the meeting in 1964, and said that Bergman recognized her and asked her on the spot if she would like to work with him.<ref name="UllmannBlu"/> He said that an image of the two women formed in his mind; in the hospital, he found an "uncanny resemblance" between the actresses in photographs of them sunbathing. This inspired the beginning of his story, a vision of two women "wearing big hats and laying their hands alongside each other".{{sfn|Gado|1986|p=321}} Andersson said, "Liv and I had worked together before and we were very close". Bergman had been in a romantic relationship with Andersson and was attracted to Ullmann; of ''Persona''{{'}}s conception, Andersson said, "He saw our friendship, and he wanted to get ... inside of it. Involved".<ref name="Callahan">{{cite web |url=https://www.slantmagazine.com/house/article/a-womans-face-bibi-andersson-and-persona-at-bam |last=Callahan |first=Dan |date=21 November 2007 |title=A Woman's Face: Bibi Andersson & Persona at BAM |work=[[Slant Magazine]] |access-date=18 October 2017 |url-status=live |archive-url=https://web.archive.org/web/20171027173313/https://www.slantmagazine.com/house/article/a-womans-face-bibi-andersson-and-persona-at-bam |archive-date=27 October 2017}}</ref>
Bergman wrote ''Persona'' in nine weeks while recovering from pneumonia,<ref>{{cite news |date=17 July 1965 |title=New Ingmar Bergman Film Set for Fall of '66 Premiere |newspaper=[[The New York Times]]|page=14}}</ref> and much of his work was done in the [[Sophiahemmet]] hospital.{{sfn|Macnab|2009|p=142}} With this project, he abandoned his practice of writing finished and comprehensive screenplays before photography, allowing the script to develop as production proceeded.{{sfn|Steene|2005|pp=54–55}} In the screenplay, the story ends with the doctor announcing that Elisabet has resumed speaking, reunited with her family, and resumed acting. Alma remains on the island and plans to write Elisabet a letter until she sees the Holocaust photo and abandons her plan.{{refn|group=n|name="Screenplay"|Authors described this original ending.{{sfn|Gado|1986|p=339}}{{sfn|Sitney|1990|p=131}} In the screenplay, instead of writing her letter, Alma then falls back on her maxim: "I'm terribly fond of people. Mostly when they're sick and I can help them. I'll marry and have children. I believe that is what life has in store for me in this world".{{sfn|Gado|1986|p=339}} The last scene featuring Elisabet called for a close-up portraying "A howling wide-open face, distorted by terror, with wild wide-open eyes and furrows of sweat running through her make-up ... [Her] face starts to move, assumes strange contours. The words become meaningless, running and jumping, finally vanishing altogether".{{sfn|Young|2015|pp=126–127}} }} Later in the production, this was replaced by the blood-drinking scene, Elisabet being taught to say the word "nothing" and Alma leaving the island.{{sfn|Sitney|1990|p=131}}
Bergman appealed to filmmaker [[Kenne Fant]] for funding for the project. Supportive, Fant asked about the film's concept and Bergman shared his vision of women comparing hands. Fant assumed that the film would be inexpensive, and agreed to fund it.{{sfn|Bergman|2014|p=27}} In his book ''Images'', Bergman wrote, "Today I feel that in ''Persona''—and later in ''[[Cries and Whispers]]''—I had gone as far as I could go. And that in these two instances when working in total freedom, I touched wordless secrets that only the cinema can discover." He also said, "At some time or other, I said that ''Persona'' saved my life—that is no exaggeration. If I had not found the strength to make that film, I would probably have been all washed up. One significant point: for the first time I did not care in the least whether the result would be a commercial success".{{sfn|Vermilye|2002|p=123}} The filmmakers considered the titles ''Sonat för två kvinnor'' (''Sonata for Two Women''), ''Ett stycke kinematografi'' (''A Piece of Cinematography''), ''Opus 27'', and ''Kinematografi'',{{sfn|Steene|2005|p=270}} but Fant suggested something more accessible and the title was changed.<ref>{{cite journal |last1=Fleisher |first1=Frederic |date=11 November 1966 |title=A bit of cinematography |journal=[[The Christian Science Monitor]] |page=8 }}</ref>{{sfn|Bergman|2014|p=30}}
===Casting===
Bergman had planned to cast Andersson and Ullmann in ''The Cannibals'', a large project he abandoned after becoming ill, but he still hoped to pair them in a project.<ref name="BergmanBlu"/> Ullmann said that she began to be cast in Bergman's films beginning with the mute character, Elisabet: "It was because my face could say what he wanted to say. That made me the one he wanted to work with ... because it was my face and I also understood what he was writing".{{refn|group=n|name="Casting"|Ullmann spoke of why she was cast in the films in 2016. Before the director's death in 2007, Ullmann starred in 11 of his works and became known as his muse.<ref name="Shanahan">{{cite web |url=https://www.bostonglobe.com/lifestyle/names/2016/05/20/liv-ullmann-talks-about-ingmar-bergman/TrsHLpqPQo2VKY8Lp9uxVI/story.html |last=Shanahan |first=Mark |date=20 May 2016 |title=Liv Ullmann talks about Ingmar Bergman |work=[[The Boston Globe]] |access-date=11 October 2017 |url-status=live |archive-url=https://web.archive.org/web/20171011181620/https://www.bostonglobe.com/lifestyle/names/2016/05/20/liv-ullmann-talks-about-ingmar-bergman/TrsHLpqPQo2VKY8Lp9uxVI/story.html |archive-date=11 October 2017}}</ref> [[Roger Ebert]] remarked Bergman and Ullmann's "lives have been intertwined since ''Persona'', and that's been the most important fact in ... [Ullmann's] artistic life", and they also had a daughter, [[Linn Ullmann]].<ref>{{cite web |url=https://www.rogerebert.com/interviews/liv-ullmann-and-memories-of-bergman |last=Ebert |first=Roger |date=16 February 2001 |title=Liv Ullmann and Memories of Bergman |work=Rogerebert.com |access-date=11 October 2017 |url-status=live |archive-url=https://web.archive.org/web/20171011181249/http://www.rogerebert.com/interviews/liv-ullmann-and-memories-of-bergman |archive-date=11 October 2017}}</ref> }} Steve Vineberg wrote that, with the conception of the project with Andersson and Ullmann, Bergman parted with his past uses of [[ensemble cast]]s in films such as ''[[Smiles of a Summer Night]]'' and focused on two leads. Vineberg called the roles of [[Margaretha Krook]] and [[Gunnar Björnstrand]] "abbreviated guest appearances".{{sfn|Vineberg|2000|p=117}}
Bergman cast [[Jörgen Lindström]] as Elisabet's son after using him in his 1963 film ''[[The Silence (1963 film)|The Silence]]''.{{sfn|Wood|2006|p=195}} Lindström (born 1951) was a [[child actor]], and played children in other films.{{sfn|Thomson|2015|p=225}} Bergman was the uncredited [[narrator]].{{sfn|Havertyrugg|2005|p=232}}
===Filming===
{{multiple image
|align = right
|direction = vertical
|width = 300px
|image1 = Gotland Fårö-Raukar Langhammars.jpg
|alt1 = Beach with rock formations
|image2 = Fårö Hammars Bergmanhuset 04.JPG
|alt2 = Secluded wooden house
|footer =The film was shot on the island of [[Fårö]], including Langhammars ''(above)'' and Bergman's property at Hammars.
}}
[[Principal photography]] took place on the island of [[Fårö]]{{refn|group=n|name="Faro"|Bergman used [[Fårö]] as a filming location for the first time in his 1961 ''[[Through a Glass Darkly (film)|Through a Glass Darkly]]'',{{sfn|Gado|1986|p=278}} at cinematographer [[Sven Nykvist]]'s recommendation.{{sfn|Steene|2005|p=40}} Following ''Persona'', he returned to shooting in Fårö for ''[[Hour of the Wolf]]'' (1968), ''[[Shame (1968 film)|Shame]]'' (1968), ''[[The Passion of Anna]]'' (1969), ''[[Fårö Document]]'' (1969) and ''[[The Touch (1971 film)|The Touch]]'' (1971). ''Fårö Document'' is a documentary, while the others use the island for symbolism and have been termed the "island films".{{sfn|Steene|2005|p=40}} }} (including Langhammars, with its [[rauk]]s in the background,<ref>{{cite web |url=https://www.nytimes.com/2016/05/16/t-magazine/sweden-gotland-island-travel.html |title=Where the Swedes Go to Be (Really) Alone |last=Smallwood |first=Christine |work=[[The New York Times]] |date=16 May 2006 |access-date=6 October 2017 |url-status=live |archive-url=https://web.archive.org/web/20171006212257/https://www.nytimes.com/2016/05/16/t-magazine/sweden-gotland-island-travel.html |archive-date=6 October 2017}}</ref> and Bergman's property at Hammars)<ref name="Ahlund"/> and at [[Råsunda Studios]] in Stockholm.{{sfn|Steene|2005|p=270}} Shooting began on 19 July 1965 and wrapped by 15 September.{{sfn|Steene|2005|p=270}} Ullmann described the initial Stockholm shoot as marred by awkward performances and unprepared direction; the crew opted to retreat to Fårö, where Bergman found a house to shoot in.<ref name="UllmannBlu"/> Fårö's weather was ideal during shooting; the crew redid much of the footage filmed in Stockholm, recreating the summer house on the Stockholm set and using a Fårö museum as the hospital.{{sfn|Bergman|2014|p=33}}
Andersson said that she and Ullmann agreed to play their parts as different sides of the same personality, and they assumed that personality was Bergman's. The actress said that they tried to balance each other in their performances.<ref name="BergmanBlu" /> Bergman told his actresses not to ask him what each scene meant; Ullmann believed that cinematographer [[Sven Nykvist]] was also not informed of the director's intentions and left to work intuitively.<ref name="UllmannBlu">{{cite AV media |last=Ullmann |first=Liv |year=2014 |title=Elisabet Speaks: Liv Ullmann on ''Persona'' |work=Persona |medium=Blu-ray |publisher=[[The Criterion Collection]] }}</ref>
Although the scene where Alma describes her orgy was in the screenplay, Andersson said in 1977 that Bergman had been advised to remove it from the film. She insisted that it be shot, volunteering to alter dialogue she felt was too obviously written by a man.{{sfn|Andersson|2014|p=49}} The scene took two hours to shoot, using [[close-up]]s of Ullmann and Andersson in single takes.{{sfn|Andersson|2014|p=49}} Andersson later said that while she thought some of her performances in films such as ''[[Wild Strawberries (film)|Wild Strawberries]]'' were "corny", she was proud of her work in ''Persona''.{{sfn|Andersson|2014|p=47}} Ullmann described her response shots as an unprepared, natural reaction to the story's erotic nature.<ref name="UllmannBlu"/>
For the scene in which Andersson and Ullmann meet in the bedroom at night and their faces overlap, a large amount of smoke was used in the studio to make a blurrier shot. Bergman used a mirror to compose the shots.{{sfn|Andersson|2014|p=50}}
===Post-production===
The screenplay called for a "close-up of Alma with a strange resemblance to Elisabet".{{sfn|Coates|2012|pp=158–172}} On Fårö, Bergman conceived a shot where Ullmann and Andersson's faces merge into one.{{sfn|Bergman|2014|p=31}} This was done by lighting what Bergman considered the unflattering side of each actress's face in different shots and combining the lighted sides. The actresses were unaware of the effect until a screening in the [[Moviola]].{{sfn|Bergman|2014|pp=31–32}} Neither actress recognized herself in the resulting imagery, each assuming that the shot was of the other.{{refn|group=n|name="Moviola"|Bergman described the Moviola screening, with the actresses unaware of the effect: "We set the machine running, and Liv said, 'Oh look, what a horrible picture of Bibi!' And Bibi said, 'No, it's not me, it's you!' Then the picture stopped. Everyone's face has a better and a worse side, and the picture is a combination of Bibi's and Liv's less attractive sides. At first, they were so scared they didn't even recognize their own faces. What they should have said was: 'What the hell have you done with my face?' But they didn't! They didn't recognize their own faces. I find that rather an odd reaction".{{sfn|Bergman|2014|pp=31–32}} Author Paul Coates replied "Bergman's own reaction is itself odd", as a person will not "identify" with their least flattering angle, and each actress would accurately recognize the other in a shot with both faces.{{sfn|Coates|2012|pp=158–172}} }}
According to Ullmann, the scene where Alma describes Elisabet's motherhood was filmed with two cameras, one filming each actress, and shots of each were intended to be mixed in editing. Then Bergman decided that each angle communicated something important and used both in their entirety, one after the other.{{sfn|Long|2006|p=5}}
Bergman was unhappy with the sound in the scene where Alma describes the orgy, so he told Andersson to reread the scene, which she did in a lower voice. It was recorded and [[Dubbing (filmmaking)|dubbed]] in.{{sfn|Andersson|2014|p=49-50}}
The [[film score|score]], by [[Lars Johan Werle]], uses four cellos, three violins, and other instruments. Werle described his effort to meet Bergman's requests without a description of the scenes Werle would score:
{{blockquote|Then he came with vague hints about how the films would look, but I understood him anyway and he gave me some keywords ... I was a little surprised to be part of an artistic work that I had so little time to digest ... One wonders how it is even possible that one could only see the movie once or twice and then compose the music.{{sfn|Luko|2015|pp=140–141}}}}
In addition to Werle's score, the filmmakers sampled [[Johann Sebastian Bach]]'s [[Violin Concerto in E major (Bach)|Violin Concerto in E major]].{{sfn|Vermilye|2002|p=122}}
==Release==
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| image2 = Liv Ullmann 1966 (cropped).jpg
| alt2 = Liv Ullmann in 1966
| footer = The performances of Bibi Andersson ({{abbr|L|left}}) and Liv Ullmann ({{abbr|R|right}}) were universally acclaimed and hailed. They are considered to be two of the best female performances of all time,
}}
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In Sweden, ''[[Dagens Nyheter]]'' critic Olaf Lagercrantz said that a cult following of Swedish critics had developed by October 1966 and coined the name ''Person(a)kult'' for them.{{sfn|Steene|2005|p=270}} In ''[[Svenska Dagbladet]]'', Stig Wikander called it "a [[Gnosticism|gnostic]] quest for divine nothingness".{{sfn|Steene|2005|p=271}} In 1966, theologian Hans Nystedt compared the film to the writings of [[Hjalmar Sundén]].{{sfn|Steene|2005|p=271}} The film ranked 1st on [[Cahiers du Cinéma]]'s [[Cahiers du Cinéma's Annual Top 10 Lists|Top 10 Films of the Year List]] in 1967.<ref>{{Cite web|url=http://alumnus.caltech.edu/~ejohnson/critics/cahiers.html|title=Cahiers du Cinema: Top Ten Lists 1951-2009|last=Johnson|first=Eric C.|website=alumnus.caltech.edu|language=en-US|access-date=2017-12-17|archive-url=https://web.archive.org/web/20120327102838/http://alumnus.caltech.edu/~ejohnson/critics/cahiers.html|archive-date=2012-03-27|url-status=dead}}</ref>
The [[Swedish Film Institute]] magazine ''Chaplin'' reported that the ''Person(a)kult'' had spread beyond Sweden by 1967.{{sfn|Steene|2005|pp=270–271}} In one of his early reviews,<ref name="Ebert">{{cite web |url=https://www.rogerebert.com/reviews/great-movie-persona-1966 |title=Persona |last=Ebert |first=Roger |date=7 January 2001 |access-date=19 November 2016 |work=Rogerebert.com |url-status=live |archive-url=https://web.archive.org/web/20161116124240/http://www.rogerebert.com/reviews/great-movie-persona-1966 |archive-date=16 November 2016}}</ref> Roger Ebert gave the film four stars; he called it "a difficult, frustrating film", and said that it (and Elisabet) "stubbornly refuse to be conventional and to respond as we expect".<ref>{{cite web |url=https://www.rogerebert.com/reviews/persona-1967 |title=Persona |last=Ebert |first=Roger |date=7 November 1967 |access-date=19 November 2016 |work=Rogerebert.com |url-status=live |archive-url=https://web.archive.org/web/20161120151026/http://www.rogerebert.com/reviews/persona-1967 |archive-date=20 November 2016}}</ref> [[Bosley Crowther]], writing for ''[[The New York Times]]'', called ''Persona'' a "lovely, moody film which, for all its intense emotionalism, makes some tough intellectual demands". Crowther wrote that its "interpretation is tough", and "Miss Ullmann and Miss Andersson just about carry the film—and exquisitely, too".<ref>{{cite web |url=https://www.nytimes.com/movie/review?res=EE05E7DF173DE773BC4F53DFB566838C679EDE |title=Persona |last=Crowther |first=Bosley |date=7 March 1967 |access-date=19 November 2016 |work=[[The New York Times]] |url-status=live |archive-url=https://web.archive.org/web/20161120152208/http://www.nytimes.com/movie/review?res=EE05E7DF173DE773BC4F53DFB566838C679EDE |archive-date=20 November 2016}}</ref> According to the ''Variety'' staff, "There is no denying the absorbing theme and the perfection in direction, acting, editing and lensing"; they called Andersson's performance a "tour de force", concluding: "Bergman has come up with probably one of his most masterful films technically and in conception, but also one of his most difficult ones".<ref>{{cite web |url=https://variety.com/1965/film/reviews/persona-1200421050/ |title=Review: 'Persona' |last=Staff |date=31 December 1965 |access-date=19 November 2016 |work=[[Variety (magazine)|Variety]] |url-status=live |archive-url=https://web.archive.org/web/20161120153015/http://variety.com/1965/film/reviews/persona-1200421050/ |archive-date=20 November 2016}}</ref> ''Time'''s review stated that the film "fuses two of Bergman's familiar obsessions: personal loneliness and the particular anguish of contemporary woman".<ref>{{cite magazine|url=http://content.time.com/time/magazine/article/0,9171,836855,00.html|title=Cinema: Accidie Becomes Electro|date=17 March 1967|access-date=19 November 2016|magazine=[[Time (magazine)|Time]]|url-status=live|archive-url=https://web.archive.org/web/20161120153017/http://content.time.com/time/magazine/article/0,9171,836855,00.html|archive-date=20 November 2016}}</ref> In the 1972 [[British Film Institute]] ''[[Sight & Sound]]'' poll, ''Persona'' was ranked the fifth-greatest film of all time, the highest placing of a Swedish film.<ref>{{cite web|url=http://old.bfi.org.uk/sightandsound/topten/history/1972.html|title=The Sight & Sound Top Ten Poll: 1972|access-date=20 November 2016|publisher=[[British Film Institute]]|url-status=dead|archive-url=https://web.archive.org/web/20160305013222/http://old.bfi.org.uk/sightandsound/topten/history/1972.html|archive-date=5 March 2016}}</ref> ''Persona'' was 41st in ''Sight & Sound''<nowiki/>'s 2002 directors' ranking of the greatest films.<ref>{{cite web|title=Sight & Sound Top Ten Poll 2002 The Rest of Director's List|url=http://old.bfi.org.uk/sightandsound/polls/topten/poll/directors-long.html|website=old.bfi.org.uk|access-date=11 May 2021|archive-date=1 February 2017|archive-url=https://web.archive.org/web/20170201155933/http://old.bfi.org.uk/sightandsound/polls/topten/poll/directors-long.html|url-status=dead}}</ref>
Essayists and critics have called ''Persona'' one of the 20th century's major artistic works, and Bergman's masterpiece.{{sfn|Sontag|
[[File:Ingmar Bergman (1966).jpg|200px|thumb|left|alt=Bergman in 1966|Several critics called ''Persona'' Ingmar Bergman's ''magnum opus'', and he won the [[National Society of Film Critics Award for Best Director]] for the film.]]
Reviewing ''Persona''{{'s}} home video, [[Richard Brody]] credited Bergman for a work that shed realism with special effects and conveyed "a tactile visual intimacy", and praised the film's island setting.<ref>{{cite magazine |url=https://www.newyorker.com/culture/richard-brody/dvd-of-the-week-persona |title=DVD of the Week: Persona |last=Brody |first=Richard |date=4 August 2010 |access-date=11 October 2017 |magazine=[[The New Yorker]] |url-status=live |archive-url=https://web.archive.org/web/20171012095228/https://www.newyorker.com/culture/richard-brody/dvd-of-the-week-persona |archive-date=12 October 2017}}</ref> Leonard Maltin gave the film {{frac|3|1|2}} stars in his ''2013 Movie Guide'', calling it "haunting, poetic, for discerning viewers".{{sfn|Maltin|2012}} According to ''Time Out''{{'}}s review, Elisabet can (despite her fraud) be understood: "not an easy film, but an infinitely rewarding one".<ref>{{cite web |url=https://www.timeout.com/london/film/persona |title=Persona |last=TM |access-date=11 October 2017 |work=[[Time Out (magazine)|Time Out]] |date=9 January 2015 |url-status=live |archive-url=https://web.archive.org/web/20171012095250/https://www.timeout.com/london/film/persona |archive-date=12 October 2017}}</ref> ''[[Chicago Reader]]'' critic Dave Kehr wrote that it might be Bergman's best, but objected to its unoriginal ideas (for an experimental film) and tediousness.<ref>{{cite web |url=https://www.chicagoreader.com/chicago/persona/Film?oid=1054155 |title=Persona |last=Kehr |first=Dave |access-date=11 October 2017 |work=[[Chicago Reader]] |date=21 February 1985 |url-status=live |archive-url=https://web.archive.org/web/20171012100134/https://www.chicagoreader.com/chicago/persona/Film?oid=1054155 |archive-date=12 October 2017}}</ref> Emanuel Levy reviewed ''Persona'' in 2016, calling it a complicated, mysterious and artistic psychological drama with experimentation presenting a novel result.<ref name="Levy">{{cite web |url=http://emanuellevy.com/review/featured-review/persona-1966-ingmar-bergmans-masterpiece-starring-liv-ullmann-and-bibi-andersson/ |title=Persona: Ingmar Bergman's 1966 Masterpiece is among the Films that Made Me Want to Become Critic |last=Levy |first=Emanuel |date=28 May 2016 |access-date=11 October 2017 |work=[[Emanuel Levy|Emanuellevy.com]] |url-status=live |archive-url=https://web.archive.org/web/20171012150006/http://emanuellevy.com/review/featured-review/persona-1966-ingmar-bergmans-masterpiece-starring-liv-ullmann-and-bibi-andersson/ |archive-date=12 October 2017}}</ref>
In 1996, ''Persona'' was included in [[Movieline]] Magazine's "100 Greatest Foreign Films".<ref>{{cite web|title=100 Greatest Foreign Films by Movieline Magazine|publisher=[[Filmsite.org]]|url=http://www.filmsite.org/foreign100_2.html|access-date=19 April 2009}}</ref> ''[[The Village Voice]]'' ranked the film at number 102 in its Top 250 "Best Films of the Century" list in 1999, based on a poll of critics.<ref>{{cite web|url=http://www.villagevoice.com/specials/take/one/full_list.php3?category=10 |title=Take One: The First Annual Village Voice Film Critics' Poll |access-date=27 July 2006 |year=1999 |work=The Village Voice |archive-url=https://web.archive.org/web/20070826201343/http://www.villagevoice.com/specials/take/one/full_list.php3?category=10 |archive-date=26 August 2007}}</ref> ''Persona'' was included on ''[[Time (magazine)|Time]]''{{'}}s [[Time magazine's "All-TIME" 100 best movies|All-Time 100 best movies]] list<ref>{{cite magazine|title=''Persona''|url=https://entertainment.time.com/2005/02/12/all-time-100-movies/slide/persona-1966/|magazine=Time|date=15 January 2010 |last1=Schickel |first1=Richard }}</ref> and in ''The New York Times Guide to the Best 1,000 Movies Ever Made''.{{sfn|Nichols|Scott|2004|p=751}} In 2010, it was ranked 71st in ''Empire'' magazine's "100 Best Films of World Cinema".<ref>{{cite web| title = The 100 Best Films of World Cinema – 71. Persona| url = https://www.empireonline.com/features/100-greatest-world-cinema-films/default.asp?film=71| date = 11 June 2010| access-date = 20 November 2016| work = [[Empire (magazine)|Empire]]| url-status = live| archive-url = https://web.archive.org/web/20150924050853/http://www.empireonline.com/features/100-greatest-world-cinema-films/default.asp?film=71| archive-date = 24 September 2015}}</ref> In the 2012 ''Sight & Sound'' polls, it was ranked the 17th-greatest film ever made in the critics' poll (tied with [[Akira Kurosawa]]'s ''[[Seven Samurai]]'')<ref name="bfi">{{cite journal |url=http://www.bfi.org.uk/news/50-greatest-films-all-time |title=The Top 50 Greatest Films of All Time |issue=September 2012 |date=1 August 2012 |journal=[[Sight & Sound]] |publisher=[[British Film Institute]] |access-date=6 June 2013 |editor-link=Ian Christie (film scholar) |editor-first=Ian |editor-last=Christie |url-status=
===Accolades===
''Persona'' won the [[Guldbagge Award for Best Film|Best Film]] award at the [[4th Guldbagge Awards]].<ref name="SFI">{{cite web |url=http://www.sfi.se/en-GB/Swedish-film-database/Item/?type=MOVIE&itemid=4743&iv=Awards |title=Persona |publisher=Swedish Film Institute |date=1 March 2014 |url-status=live |archive-url=https://web.archive.org/web/20140311135515/http://www.sfi.se/en-GB/Swedish-film-database/Item/?type=MOVIE&itemid=4743&iv=Awards |archive-date=11 March 2014}}</ref> It was Bergman's first work to win the [[National Society of Film Critics Award for Best Film]]; his 1973 ''[[Scenes from a Marriage]]'' was his only other film so honoured.<ref>{{cite web |url=http://goldderby.latimes.com/awards_goldderby/2007/07/ingmar-bergman-.html |title=Ingmar Bergman never won best picture at the Oscars |work=[[Los Angeles Times]] |date=30 July 2007 |access-date=5 October 2017 |url-status=live |archive-url=https://web.archive.org/web/20171006112714/http://goldderby.latimes.com/awards_goldderby/2007/07/ingmar-bergman-.html |archive-date=6 October 2017}}</ref> Although it was the Swedish entry for the [[Academy Award for Best Foreign Language Film|Best Foreign Language Film]] at the [[39th Academy Awards]], the film was not accepted by the academy.{{refn|group=n|name="Oscar"|Journalist Michael Wilmington, observing the fact that Sweden submitted the film but the [[Academy of Motion Picture Arts and Sciences]] did not nominate it, criticized the Academy for preferring conventional cinema beginning in 1966 and continuing to the time of his writing in 1992.<ref>{{Cite web |url=https://
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[[David Lynch]]'s 2001 film ''[[Mulholland Drive (film)|Mulholland Drive]]'' deals with similar themes of identity and has two female characters whose identities appear to merge.<ref name="Collin">{{Cite web |url=https://www.telegraph.co.uk/films/2016/06/27/when-two-women-become-one-is-the-persona-swap-cinemas-tiniest-ki/ |title=When two women become one: is the 'persona swap' cinema's tiniest, kinkiest movie genre? |last=Collin |first=Robbie |date=27 June 2016 |access-date=19 November 2016 |work=[[The Daily Telegraph]] |url-status=live |archive-url=https://web.archive.org/web/20161120150942/http://www.telegraph.co.uk/films/2016/06/27/when-two-women-become-one-is-the-persona-swap-cinemas-tiniest-ki/ |archive-date=20 November 2016}}</ref> With its thematic similarities, the film's "mysterious dreamlike quality" is evidence of Bergman's (and particularly ''Persona's'') influence.{{sfn|Young|2015|p=127}} [[David Fincher]]'s ''[[Fight Club]]'' refers to ''Persona''{{'s}} subliminal erect penis.<ref name="Parkinson"/>{{sfn|Remes|2015}} Parallels to "two (usually isolated) women in an intense relationship slowly blending and morphing into one another" may be seen in the competing ballerinas in [[Darren Aronofsky]]'s ''[[Black Swan (film)|Black Swan]]'' (2010) and the sisters in [[Lars von Trier]]'s ''[[Melancholia (2011 film)|Melancholia]]'' (2011).<ref name="Collin"/> In 2016, ''[[The Independent]]'' reported on a video essay about ''Persona''{{'}}s influence that compared shots in ''[[Don't Look Now]]'' (1973), ''[[Apocalypse Now]]'' (1979) and ''[[The Silence of the Lambs (film)|The Silence of the Lambs]]'' (1991); some shots predated ''Persona'', and appear in [[Alfred Hitchcock]]'s ''[[Vertigo (film)|Vertigo]]'' (1958) and ''[[Psycho (1960 film)|Psycho]]'' (1960).<ref name="Hooton"/>
After Bergman's death in 2007, his residence and the ''Persona'' filming location at Hammars on Fårö was assessed at 35 million kr and sold.<ref name="Ahlund">{{Cite web |url=http://www.aftonbladet.se/nyheter/article11725500.ab |title=Bergmans hem säljs – för 35 miljoner kr |last=Åhlund |first=Jannike |date=24 March 2009 |access-date=7 October 2017 |work=[[Aftonbladet]] |language=sv |url-status=live |archive-url=https://web.archive.org/web/20171007195016/http://www.aftonbladet.se/nyheter/article11725500.ab |archive-date=7 October 2017}}</ref> A stage adaptation, [[Hugo Hansén]]'s ''Persona'', played in Stockholm in 2011 and starred Sofia Ledarp and Frida
==See also==
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* {{cite book |last=Sitney |first=P. Adams |author-link=P. Adams Sitney |chapter=''Persona'' as an Allegory of Psychoanalysis |title=Modernist Montage: The Obscurity of Vision in Cinema and Literature |location=New York |publisher=Columbia University Press |date=1990 |isbn=0231071833 }}
* {{cite book |last=Soila |first=Tytti |chapter=Sweden |title=Nordic National Cinemas |location=London and New York |publisher=Routledge |date=2005 |isbn=1134891768 }}
* {{cite book|last=Sontag |first=Susan |author-link=Susan Sontag |title=Styles of Radical Will
* {{cite book |last=Steene |first=Birgitta |chapter=Bergman's ''Persona'' Through a Native Mindscape |title=Ingmar Bergman's Persona |publisher=Cambridge University Press |date=2000 |isbn=0521656982 }}
* {{cite book|url=https://books.google.com/books?id=eJCGNAlqB0gC&pg=PA270 |last=Steene |first=Birgitta |title=Ingmar Bergman: A Reference Guide |location=Amsterdam |publisher=Amsterdam University Press |date=2005 |isbn=9053564063 |via=[[Google Books]] }}
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{{good article}}
[[Category:1966 drama films]]
[[Category:1960s avant-garde and experimental films]]
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[[Category:Analytical psychology]]
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[[Category:Nonlinear narrative films]]
[[Category:Obscenity controversies in film]]
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[[Category:National Society of Film Critics Award for Best Film winners]]
[[Category:1960s Swedish films]]
[[Category:Two-handers]]
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