Andreas Winkelman (Max von Sydow) is repairing the roof of the cottage in which he lives as a literate hermit. At one point, he stares off at the sun that hangs low and dim—with edges made ragged by a telephoto lens—in the Scandinavian sky. Suddenly the sun disappears into the gray-blue haze, but it’s as if Andreas had willed it invisible, much as he has tried to will himself invisible without taking the ultimate step. With this lovely image, Ingmar Bergman begins ‘The Passion of Anna’.
28 May 1970, The New York Times, Review by Vincent Canby
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