By Susan Sontag
According to Edgardo Cozarinsky, the Argentine movie critic: "There is whatever recognizably Scandinavian approximately Brother Carl: un-easy, confusing exchanges among its characters, with brooding, ever-present nature surrounding them. The interaction of formal speech and simple silence remembers Dreyer's Gertrud (rather than Bergman's The Silence and Persona). On nearer inspection, even though, it really is not like the other Scandinavian movie. The miracles, not like that during Dreyer's Ordet, aren't 'real' ones. yet they're the single variety those characters can have enough money. Brother Carl is an outsider's observation, with very own adaptations, on these motifs that filmgoers go along with the Scandinavian movie culture. and masses of its elusive fascination is determined by this versatile distance btween fabric which can look accepted and the clean glance that establishes its personal perspective."
Brother Carl used to be shot in and round Stockholm in 1970 and had its...
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Additional info for Brother Carl : a filmscript
Then LENA looks up. LENA You shouldn’t let yourself put on so much weight. MARTIN makes a small, weary noise of assent. LENA smiles—dotingly, seductively. LENA You don’t get enough exercise any more. She disengages herself from his embrace, takes his right hand, and tries to pull him out of the chair and onto the floor with her. He resists for a moment, then follows her. Change to a wider shot, as MARTIN follows LENA down to the floor. She is lying on her right side. He lowers himself down slowly, letting his head come to rest in her lap.
Then MARTIN turns to KAREN, smiles politely, and extends his hand. MARTIN (To KAREN) It’s been a long time. KAREN nods. MARTIN turns back to LENA, who is gazing at him, her face radiant. He climbs on the table and sits on the top of the partition, looking down at them, with a distracted or perplexed air. As if seeking to make conversation, he turns to LENA to ask a question. MARTIN Did you get a room? I hear the hotel is crowded. LENA (Smiling) Yes. MARTIN Are you tired? LENA Of course not. Sound of boat leaving harbor.
MARTIN Everybody knows that. Even Lena. On these words, MARTIN continues up to the top of the ladder (out of the image). KAREN moves so that she now stands at the foot of the ladder looking up at him. Wide shot, very low angle, from KAREN’S point of view, of MARTIN standing on the edge of the roof. Behind him, a cloud is moving in the bright sky. He extends his arms and raises one leg. MARTIN Did you know I can fly? He makes a movement as if to jump. Medium shot of KAREN, looking up, clutching the ladder and visibly frightened.