Persona (1966) 720p YIFY Movie

Persona (1966)

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: 8.11 Likes

  • Genre: Drama | Thriller
  • Quality: 720p
  • Size: 691.85M
  • Resolution: 1280*800 / 23.976 fpsfps
  • Language: English
  • Run Time: 85
  • IMDB Rating: 8.1/10 
  • MPR: Normal
  • Peers/Seeds: 7 / 18

The Synopsis for Persona (1966) 720p

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) 720p

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


The Reviews for Persona (1966) 720p


"Your hiding place isn't watertight. Life trickles in from the outside, and you're forced to react."Reviewed byackstasisVote: 7/10

Ingmar Bergman's 'Persona (1966)' opens with a bewildering montage of sounds and images, a frenzied newsreel of sex, death, cinema and comedy. The sequence is so far removed from my previous experience with the director that its effect is jarring, shocking; I momentarily wondered if I'd hit a wrong button and started playing Bu?uel's 'Un chien andalou (1929)' by mistake. I question Bergman's motives for including such an uncharacteristic opening, for it appears to have very little to do with the narrative that follows. Is this montage - an account of the sickening and concealed horrors and desires of society - a possible explanation for Elisabeth's continued silence? Even so, it all seems somewhat exploitative, as though Bergman was simply going for shock-value, obliterating any notions of subtlety with which I had begun to associate him {though I'll admit that the strength of 'The Seventh Seal (1957)' arose from its not-so-subtle representation of Death}. The opening scene concludes with a young boy awakening in the morgue, his hand outstretched towards the vague image of a woman's face. Elisabeth's unloved child? Alma's aborted fetus?

An endless line of critics, it seems, have celebrated 'Persona' as a masterpiece, and among the greatest films ever made. I'd hate to be the lone voice of dissent, but the film is certainly the lesser of the three Bergmans I've hitherto seen, if only due to the noticeable absence of the good-natured humour to be found in both 'The Seventh Seal (1957)' and 'Wild Strawberries (1957)'. If, indeed, I were to describe 'Persona' as a masterpiece, it would be in regards to the visuals, which, photographed by long-time Bergman collaborator Sven Nykvist, are beyond description in their detail and intimacy. The film takes particular interest in the human face, and entire conversations of words and emotions are played out through the communication of the eyes, and the glimmering hint of a smile on the lips. There is one immortal moment in the film when Bergman juxtaposes the faces of each woman onto the screen, merging Elisabeth (Liv Ullmann) and Alma (Bibi Andersson) into a single entity.

Persona also includes one of the most vivid depictions of sex that I've ever seen. Though the film shows us nothing, Alma's whispered description of an intimate encounter on the beach is staggering in its effectiveness; her words allow the viewer to formulate their own visuals, every emotion and nuance perfectly incorporated from the rich story we are being told. Though I may exhaust hours spouting the merits of Ingmar Bergman's film, I can't escape the fact that watching 'Persona' felt very much like a chore. The film boasts a relatively short running time, but it never seems to attain any comfortable sense of rhythm, and, by the film's end, I was left wondering just what the film was trying to get at. Bergman includes various allusions to Bertolt Brecht's "Verfremdungseffekt" effect ? highlighting the inherent artificiality of the cinematic medium ? with the film at one point appearing to burn; but, unlike in Fellini's '8? (1963),' these self-referential flourishes seem to serve little foreseeable purpose. Am I looking too far into this film for meaning? Or am I not looking far enough? Even just hours afterwards, another layer of meaning has unfurled itself. Maybe it'll get better.

Liv Ulmann's smileReviewed byVincentiuVote: 10/10

Profound studie of the human psyche. Honest story about nooks of existence and vain hopes. Anatomy of helplessness and deep solitude. Life as convention, mask for feelings and expectations.

Another room of Bergman's universe. Same cruel instruments, game of flash-backs and dream sequences, visions and memories. Fight between two women as screen for interior struggle. Impact of consciences and lights of sin. Illness like armour against fake images and empty future. Confesions like way to be yourself. Like cries suffocates by silence of the other.

Story about refuse and cages. About dreams and disillusions. About chaotic values and flavour of extinction. People as rabbits for experiments. The other like sign of salvation. And the question of soul.

"Persona" is an act of confrontation between Ingmar Bergman and God. The silence, the cruelty of letters, the cries and the confessions of Alma are only guns in a strange and ambiguous war. So, any film of this great director is a religious personal answer to permanent subtle fear. In this case, the shadow of divine presence is the Liv Ulmann smile.

"Persona" is "non grata"Reviewed bydrwlsVote: 2/10

I am a lover of Bergmann films, most of which I'd seen more than 20 years ago. This one got by me somehow, but because of all the glowing reviews I've read here and elsewhere, I decided to rent the DVD. It was a complete waste of time: pretentious, dull and hollow. The only part remotely interesting was when the nurse describes an erotic beach encounter with some voyeur boys. Flashbacks, apparent dreams, repeated scenes, unexplained images. None of it worked for me. About the only thing that held my interest was whether or not Liv Ullman would ever speak a line. The answer to even this question remained ambiguous.

This is the "Emperor's New Clothes" of all art films, as far as I am concerned. There is nothing there.

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