Stockholm University, Department of Cinema Studies Ingmar Bergman Revisited: Art, Media and Intermediality Course literature assignment,

part 2 Paulius Petraitis (Cinema studies, 1st year Master student)

Inability of words: the meaning of silence in Bergmans Persona

There are plenty of formal ties between two famous Ingmar Bergmans productions from the 1960s: Silence and Persona. Both explore inter-relationship between two women. In both films young boy (played by Jrgen Lindstrm) takes up a special role. Then there is a beautiful black and white world captured by Sven Nykvists camera. The stress on sound in the opening credits1 and so on and so forth. But perhaps the most surprising and intriguing link is formed through aspect of silence as both bearer of special meaning and self-reflective critique on inability of words. As Bergman himself seems to come to understanding quite painfully, words are not always the perfect carriers of meaning. A characteristic note from his diary: I really, once and for all, have to get away from dialogues. Im damned tired of all these meaningless words and discussions.2 As recent studies have shown3, he struggled throughout career with wordiness and literariness on the one hand, and the idea of unity of cinematic time and space on the other. There was a point in his life where Bergman seems to come to terms (or was persuaded by French new-wave
Maaret Koskinen, Ingmar Bergmans The Silence. Pictures in the Typewriter, Writings on the Screen (Seattle: University of Washington Press, 2010), 113. 2 Bergman cited in Koskinen (2010), 71. 3 Koskinen (2010) and Ingmar Bergman Revisited. Performance, Cinema and the Arts, ed. Maaret Koskinen (London and New York: Wallflower Press, 2008).
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filmmakers and critics favorable to them) with the idea that film is a medium of showing rather than telling. Bergman often agonized over decisions to cut out or leave words and conversations in his scripts, feeling that his quite XIX century Dickensian writing style is not appropriate with the modern idea of film as a medium, first and foremost, for the eyes. Bergman never quite stopped using eloquent descriptions filled with metaphors in his writings. For example his Silence film script is full of poetic expressions such as room filled with dark-grey twilight, feelings of sensuous pleasures and high spirits or an elated desire for adventure. In the same script one will find rather literary sentences, for example: She closes her eyes and thinks of the Swedish archipelago, a summer outing, the clear green chill of the water, the white horizon, light afternoon clouds over the cliffs.4 Such sentence can not be translated into the visible and Bergman, of course, knew it. Writings and words were Bergmans passion, but also his menace, something he wrestled with. Perhaps, precisely because the danger of words was so well understood by Bergman, he often relegated a significant role for silence in his films. Moments of silence, or, rather, a showcase of inability of words is elicited when language fails to account for what is happening on the screen or nearby for its characters. Similar affect in Bergman films is assigned to music, which helps to convey meaning beyond the sayable or to emphasize the imperfection and limited nature of words. Silence is usually seen as the opposite of words, and, thus, meaning. But what if silence can be applicable where words fail (as Bergman himself seemed to learn) and convey meaning beyond the sayable?

Ingmar Bergman, A Film Trilogy: Through a Glass Darkly, The Communicants (Winter Light), The Silence, trans. Paul Britten Austin (New York and London: Marion Boyars, 1989), 118.

If it is said that music sometimes acts as an extension of language in Bergmans films5, expressing something words are not capable of, then why not the same be said about the silence, which is ultimately an extension of sound? Lets dwell a step further into Persona and see how a concept of silence resonates within the film, creating an unlikely link with seemingly more sound (and muteness)-focused Silence. Theatre actress Elisabet Vogler is in self-imposed state of silence and immobility. In hospital where she is treated by sympathetic, albeit slightly assertive doctor, Elisabet is assigned a new nurse Alma to look after her. They are treated a visit to doctors summer house for the better of the patient. Although Elisabet enjoys solitude of the villa and companionship of Alma, her curtain of silence remains intact. It is important to note that Elisabet is an actress, words for her are tools to be used for certain ends and she is probably familiar with the deceptive power of the false words. Contrary to them, the silence is real. For once Elisabet decides to take up a role of the silent spectator opposite of her regular roles and the only one she never tried in the theatre. Elisabet is highly affected by the violence in the world: images of brutality on TV shock her. In hospital she watches TV programme on Vietnam War showing burning monk and is literally taken aback by the power of images, her mouth covered by hand as if to make sure no sound would come out of it. Not only TV reportage but also photograph of her son, which she tears down, is a bothering visual. Silence becomes a shelter from the world of violent imagery. In her silence she is strong, at least she seems a stronger character compared with Alma, who acknowledges as much expressing doubt if

Ulla-Britta Lagerroth, Musicalisation of the Stage: Ingmar Bergman Performing Shakespeare, in Ingmar Bergman Revisited. Performance, Cinema and the Arts, ed. Maaret Koskinen (London and New York: Wallflower Press, 2008), 35; and Maaret Koskinen Out of the Past: Saraband and the Ingmar Bergman Archive, in Ingmar Bergman Revisited. Performance, Cinema and the Arts, ed. Maaret Koskinen (London and New York: Wallflower Press, 2008), 11.

she should take the job of nursing Elisabet: It is a decision [to become mute] that shows great mental strength. Maybe I am not up to it. Alma not only feels the strange strength of Elisabet, manifested by her unbreakable silence but also affinity and desire to be like her. Persona is telling us that notion of the self is a constructed one and, as such, it is rather fragile. By talking Alma and Elisabet are constructing not only themselves trough self-fashioning6 but also each other. Our identities are regulated by given social contexts and rules. Elisabet is tired of her societal roles as an actress, wife and mother. Her way to abandon this inauthenticity and falseness and be herself is by refusing to talk. Alma, on the other hand, accepts her roles as a dutiful (albeit liberal) wife and professional nurse, but secretly longs to be like Elisabet, whom she sees freed from the shackles of the social norms. There is something special about Persona. As Linda Haverty Rugg have noted, in this film Bergman was able to grasp onto something significant.7 American environmentalist John Francis is not an ordinary person(a). Also known as the Planetwalker he was voluntarily silent for 17 years after witnessing the devastation caused by a 1971 oil spill in San Francisco Bay. It is never explicitly said, but we can assume that similar experience of violence or violent imagery turned Elisabet mute. Obviously, Bergman was onto something (as, dare I say, he often was throughout his career), if some 5 years after release of Persona something similar to film happened in the real life. There are striking similarities between Bergmans mute Elisabet and real-life mute John Francis. In Persona, as Elisabet stops talking she begins listening, something Alma gratefully
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On Bergmans self-fashioning see Janet Staiger Analysing Self-fashioning in Authoring and Reception in Ingmar Bergman Revisited. Performance, Cinema and the Arts, ed. Maaret Koskinen (London and New York: Wallflower Press, 2008), 89-106. 7 Linda Haverty Rugg, Self-projection and Still Photography in the Work of Ingmar Bergman in Ingmar Bergman Revisited. Performance, Cinema and the Arts, ed. Maaret Koskinen (London and New York: Wallflower Press, 2008).

acknowledges: I think you are the first person to have listened to me. John Francis says as much: Its one of those things that came out of the silence: the listening to each other.8 It seems the real listening was value that came with the price of words for both Francis and Elisabet. Her careful listening opens up Alma for some personal, and rather discreet, confessions (among them a famous beach scene description which is a good example how ideas and words shape our imagination). Silence emerges as a concept of listening, suggesting that when two are doing the talking, no one emerges as a true listener. When Alma, little drunk and rather excited, starts pouring personal stories for Elisabet, her face becomes a screen where tiny emotions and reactions to Almas confession are shown. The oftenshown close-up of her face becomes metaphor for cinema screen to which we look for visual responses to the words told. But Persona, as Silence, is a film about a lack of communication and therefore Elisabets emotions, just like the visual style of the film itself, are minimal. What, however, the film teaches us, is that our imagination, not the actual visual scenes, often has the deepest impact. For example, the imagery of Almas famous monologue is so efficacious that some viewers were reported to think they actually saw the scene in the film.9 Silence provides Elisabet a relief from the false societal roles and deceitful words. At least that way you dont lie [] and put on false gestures, says doctor analyzing Elisabets self-imposed curtain of tranquility. In other words, she suggests Elisabet became mute in order not to hurt others with words. John Francis seconds, confessing that he went silent weary of discussions

John Francis walks the Earth, Ted Talks, http://www.ted.com/talks/lang/eng/john_francis_walks_the_earth.html, (accessed March 29, 2011). 9 Roger Ebert Persona, Roger Ebert website, http://rogerebert.suntimes.com/apps/pbcs.dll/article?AID=/20010107/REVIEWS08/101070301/1023, (accessed March 29, 2011).

with fellow townspeople and as a gift to them, as they were disagreeing with him.10 Silence becomes a gift, not only of true listening but also a withdrawal from verbal conflicts. Tellingly, both Francis and Elisabet disrupt their muteness threatened by an act of potential violence. The only words that come out of Elisabet in the film are heard after Alma threatens to attack her with a domestic weapon of boiling water. John Francis started talking after being threatened by security guard in Venezuela.11 Silence is a shield against a world of violent imagery, but when violence threatens the very existence of the self-imposed mute person, silence cracks. John Francis is often hailed as the one who broke free, followed his path and did, actually, change the world.12 Does Elisabet ultimately wanted to do the same? In an interview with Maria Hinojosa, Francis was asked if he felt he had actually changed the world. His reply: When you start thinking about changing the world, the first person you want to start to change is yourself.13 If Elisabet would be listening she would nod agreeing. Tired of constructed identities society imposes on oneself, Elisabet chose silence as her answer and a retreat both from a world of violent images and from hurting others around. Her mute way underlies the imperfection of words to convey meaning. Persona shows that communication often fails, not least due to fragile constructed self-identities which are re-created in every communication. If Ingmar Bergmans Silence is about communication, or the lack of it14 then Persona is closer to it than one might think.

John Francis walks the Earth. John Francis walks the Earth. 12 Dylan Wilbur, comment on John Francis walks the Earth, Ted Talks, comment posted on November 11, 2008, http://www.ted.com/talks/lang/eng/john_francis_walks_the_earth.html, (accessed March 29, 2011). 13 Maria Hinojosa, One on One with John Francis, http://www.wgbh.org/programs/-12/episodes/-14041, (accessed March 30, 2011). 14 Koskinen (2010), 112.
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Bibliography

Films: Persona (Ingmar Bergman, 1966) The Silence (Tystnaden, Ingmar Bergman, 1963)

Multimedia: Maria Hinojosa, One on One with John Francis, http://www.wgbh.org/programs/-12/episodes/14041, (accessed March 30, 2011). John Francis walks the Earth, Ted Talks, http://www.ted.com/talks/lang/eng/john_francis_walks_the_earth.html, (accessed March 29, 2011).

Written sources: Bergman, Ingmar. A Film Trilogy: Through a Glass Darkly, The Communicants (Winter Light), The Silence. Translated by Paul Britten Austin, New York and London: Marion Boyars, 1989. Ebert, Roger. Persona. Roger Ebert website. http://rogerebert.suntimes.com/apps/pbcs.dll/article?AID=/20010107/REVIEWS08/101070301/1 023, (accessed March 29, 2011). Koskinen, Maaret. Ingmar Bergmans The Silence. Pictures in the Typewriter, Writings on the Screen. Seattle: University of Washington Press, 2010.

Koskinen, Maaret. Out of the Past: Saraband and the Ingmar Bergman Archive. In Ingmar Bergman Revisited. Performance, Cinema and the Arts, edited by Maaret Koskinen, 35-50. London and New York: Wallflower Press, 2008. Lagerroth, Ulla-Britta. Musicalisation of the Stage: Ingmar Bergman Performing Shakespeare. In Ingmar Bergman Revisited. Performance, Cinema and the Arts, edited by Maaret Koskinen, 35-50. London and New York: Wallflower Press, 2008. Rugg, Linda Haverty. Self-projection and Still Photography in the Work of Ingmar Bergman. In Ingmar Bergman Revisited. Performance, Cinema and the Arts, edited by M Maaret Koskinen, 106-119. London and New York: Wallflower Press, 2008. Staiger, Janet. Analysing Self-fashioning in Authoring and Reception. In Ingmar Bergman Revisited. Performance, Cinema and the Arts, edited by Maaret Koskinen, 89-106. London and New York: Wallflower Press, 2008.