Persona (1966) 1080p YIFY Movie

Persona (1966) 1080p

Persona is a movie starring Bibi Andersson, Liv Ullmann, and Margaretha Krook. A nurse is put in charge of a mute actress and finds that their personae are melding together.

IMDB: 8.14 Likes

  • Genre: Drama | Thriller
  • Quality: 1080p
  • Size: 1.32G
  • Resolution: 1920*1080 / 23.976 fpsfps
  • Language: English
  • Run Time: 85
  • IMDB Rating: 8.1/10 
  • MPR: Normal
  • Peers/Seeds: 7 / 25

The Synopsis for Persona (1966) 1080p

A young nurse, Alma, is put in charge of Elisabeth Vogler: an actress who is seemingly healthy in all respects, but will not talk. As they spend time together, Alma speaks to Elisabeth constantly, never receiving any answer. Alma eventually confesses her secrets to a seemingly sympathetic Elisabeth and finds that her own personality is being submerged into Elisabeth's persona.

The Director and Players for Persona (1966) 1080p

[Director]Ingmar Bergman
[Role:]Margaretha Krook
[Role:]Gunnar Bj?rnstrand
[Role:]Liv Ullmann
[Role:]Bibi Andersson

The Reviews for Persona (1966) 1080p

The most ambiguous, inviting, surreal, whatever-you-can-think philosophical experiment by BergmanReviewed byMisterWhiplashVote: 7/10

Writing from a hospital bed (as he did with Wild Strawberries, two of these being films strung out from anguish), Ingmar Bergman put down almost anything that was in his head to start with (the first five minutes- some of the most startling and thoroughly symbolic minutes he's ever directed), then transposed into a story of two women, or one. This was one of the landmark 'art-films' of the 1960's, with hints of the horrors of war (in one memorable scene, Elisabeth looks at a television screen at images of death), introspection regarding sex and identity, existentialism, and what it means to be an actor.

Some of the more famous directors in history have a kind of 'notorious' film, by which many people who may not know the bulk of their works know them by one particular work (with Hitchcock it could be Psycho, Lucas' Star Wars, Bunuel with Un chien Andalou, Breathless). This could, arguably, be the one for Bergman, despite a couple of others likely also holding claim to that title. In other words, this could be a good place to start with the director if you're not familiar with his films, or it might not be. But keep this in mind- it's one of his most unique departures as a filmmaker.

Two of his leading ladies (and, ahem, loves), Bibi Andersson and 25 year-old Liv Ullmann, star as a nurse and an actress, who for the bulk of the film are at a Doctor's cottage as the nurse tries to help and likely cure Elisabeth of her ailment (froze on stage, silent but incredibly observant). In the meantime, Alma the nurse, in a role that gives Andersson more talking-points than any other film she's been in, goes through some hurtful parts of her past, and just tries to understand her counter-part. At one point, a vein of existentialism is ruptured thoughtfully, when Alma gets Elisabeth to say "No, don't", when she threatens her. When I first saw this film, I knew this scene would come after reading Roger Ebert's review. But I had no idea it would hit me like it did. There is such a great, compelling tension between these two that Andersson and Ullmann convey that it is what makes the film work. Any lessor actresses might fumble up the whole lot of it.

While it isn't my favorite Bergman film (though it is unfair to pick favorites sometimes when it comes to someone as huge in the cine-consciousness as him), there are many things that had me come back to it after being a little awe-struck on my first viewing last year. For one thing, there's Sven Nykvist, with one of the strongest, most varying eyes in all of European cinema.

In the first five minutes, of course, there is some fascinating stuff, but even in the scenes of long dialog and monologue (i.e. the unforgettable speech about being on the beach from Alma), where the lighting is so delicate and sharp with the shadows that you really feel like the weight of this situation is closing in on the characters. Or, of course, when the two actresses' faces are super-imposed, which can be interpreted in more ways than one (either as a grand statement, or as pretension, or something else). I was also very moved by the pace of the film, how it fills each minute (it's not a long movie) in ways that some movies just float minutes by.

Now, this is the kind of Bergman film that can't be turned on any time (not to make it sound un-watchable, it certainly isn't). But it does ask to be viewed when in a certain frame of mind- if you're looking for a movie to show off to your friends, like it's the Euro/avant-garde version of Fight Club minus the violence, look away. It poses a good many questions for a viewer, especially one who knows of Bergman's themes he's explored before and after this film's release. How do we feel, or know we're feeling? What keeps us closed in? Why do we hurt? And are we only one person at a time?

It's all the more puzzling that Bergman's climax isn't a very easy one (not as doomed as with Seventh Seal but not as cheerful as Fanny and Alexander), as Alma has another monologue with Elisabeth, about her son she hasn't seen in a long while- this famously seen from two different angles, one after the other. Furthermore, it is arguably Bergman's most self-conscious film to date (the commentary on the DVD carries it well), however it may not be as off-putting as with some of Godard.

To put it another way, there are two sides to the subject matter, the film, the director, and the audience.

I am Bergman! Hear me bore!Reviewed bysc8031Vote: 5/10

I was hesitant to write anything about this film at first because I wasn't sure if my negative reaction was from moodiness or the result of disappointed expectations. I haven't seen too many Bergman films, but most of the ones I've seen present interesting ideas, but as though they were the most earth-shattering profound concepts ever conceived. It can be a bit much.

Okay, so here we have a movie that deals with similar themes as his later, better film, "Hour of the Wolf". Liv Ullman plays a popular actress who goes mute in the middle of a stage performance. A nurse, played by Bibi Andersson, is assigned to care for her. Eventually the two take a vacation to a cottage out on the beach (a typical Swedish method of recovery?) where a series of interactions begins to take their toll on their personalities. Here the film seems to investigate the line that is blurred between people's identities who are in close proximity over long periods of time.

It seems the characters are established exclusively in order to explore Bergman's philosophical meanderings and musings, which involve the significance of the interior and exterior views of the self. Elizabeth (Ullman) seems to be someone who recognizes her lack of a strong internal identity. Alma (Andersson) is the opposite and manifests a strong internal sense of self but a weak external influence. Maybe Bergman is also saying something about the role of the artist -- that their persona is stolen by so much giving, so much internal conjuration and performance. That over time, society consumes the artist's inner world by making their gifts into novelties and taking the inner spirit for granted.

But I don't really know and that's the problem. Many people say this movie is open to interpretation and that's what makes it so deep. But I think such an explanation only proves that this film is too broad or vague and relies too much on hind-sight and art-house praise. On some level it becomes too self-indulgent to really be enjoyable. I really suspect that many individuals like this movie because they view it with the same self-impressed state of mind as Bergman did when he made it.

I can certainly credit Bergman with having a knack for writing decent dialog and for being inspired in his film-making. He really is empowered to make films. But he also seems obsessed with his own perceptions, making complicated and fractured works about feelings and ideas that could be presented more concretely. But then again, many people like him for that, or his aesthetic, or a variety of other reasons that I haven't mentioned here. I enjoy some of his works, but this one didn't interest me too much.

PretentiousReviewed bykenjhaVote: 3/10

An actress who has stopped talking is cared for by a nurse. Perhaps disturbed that Fellini and Godard had overtaken him for the title of the most pretentious filmmaker in the world, Bergman shot back with this much-praised drama. The film opens with random images of a movie projector, a cartoon, an animal getting disemboweled, an aroused male organ, etc. that leave most viewers bowing to the pure genius of Bergman. The film was probably cathartic for Bergman, saving him some money on therapy sessions, but viewers should not be subjected to such heavy-handed nonsense. Andersson and Ullmann are good actresses and the only reason for watching this.

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