Saraband (2003)
Directed by Ingmar Bergman
Reuniting the characters of Johan and Marianne three decades after "Scenes from a Marriage," "Saraband" follows Marianne’s visit to her reclusive ex-husband, where she finds him locked in a destructive conflict with his troubled son Henrik and Henrik’s musically gifted daughter Karin. Told as an intimate chamber drama, the film explores love, resentment, forgiveness, and the inescapable pull of family bonds.
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What critics compared Saraband to
That’s not an affront; “The Irishman” feels similar to Ingmar Bergman’s “Saraband,” Federico Fellini’s “Intervista,” and Akira Kurosawa’s “Dreams” (in which Scorsese appeared) and “Madadayo.”
Like John Huston’s The Dead or Ingmar Bergman’s Saraband , it’s a story of people looking back on their lives and, often regretfully, at the decisions they’ve made; like those films, it is the work of a director who is himself at an age which allows the kind of analysis that might elude a younger man.
It has the elegiac feel of other career-twilight movies, such as John Ford's "Cheyenne Autumn," Akira Kurosawa's "Madadayo," Ingmar Bergman's "Saraband," Terence Fisher's "Frankenstein and the Monster from Hell" (yes) and Robert Altman's "A Prairie Home Companion," a movie literally haunted by an angel of death, albeit an attractive one ( Virginia Madsen ).
Allen idol Ingmar Bergman exposes the ghosts of his own obsessions last year in Saraband, while Allen merely regurgitates his shrunken vision in veddy-British padding.