Belgrade, Coventry
Torvald, an obnoxiously smug Scandinavian banker, has a large illuminated fish-tank as the focal point of his tastefully minimalist apartment. He also keeps a trophy wife who skips round the strange, cuboid furnishings with a kind of manic, manufactured glee that suggests she has rather less freedom of movement than the fish.
Nora is a 90-minute reduction of Ibsen's A Doll's House made by Ingmar Bergman in 1981. It was originally conceived as a stage trilogy exploring the gender war alongside Bergman's reworking of Strindberg's Miss Julie and his own Scenes from a Marriage.
Ibsen's play concluded, famously, with the door slam that reverberated around the world, yet the play's credibility relies on carefully measured narrative development. It also requires an understanding of its 19th-century context in which it is unthinkable for a woman to run up debts without the knowledge of her husband. Bergman's version is short and sharp,...
Torvald, an obnoxiously smug Scandinavian banker, has a large illuminated fish-tank as the focal point of his tastefully minimalist apartment. He also keeps a trophy wife who skips round the strange, cuboid furnishings with a kind of manic, manufactured glee that suggests she has rather less freedom of movement than the fish.
Nora is a 90-minute reduction of Ibsen's A Doll's House made by Ingmar Bergman in 1981. It was originally conceived as a stage trilogy exploring the gender war alongside Bergman's reworking of Strindberg's Miss Julie and his own Scenes from a Marriage.
Ibsen's play concluded, famously, with the door slam that reverberated around the world, yet the play's credibility relies on carefully measured narrative development. It also requires an understanding of its 19th-century context in which it is unthinkable for a woman to run up debts without the knowledge of her husband. Bergman's version is short and sharp,...
- 2/3/2012
- by Alfred Hickling
- The Guardian - Film News
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