Fårö-dokument 1979
Ingmar Bergman
imdB
IT will be interesting to see whether we're still alive,'' says Ingmar Bergman, with typical sang-froid, of the year 1989. That is the year in which he plans to make another film about the island of Faro. Meanwhile, Mr. Bergman's muted, rigorously plain ''Faro Document 1979'' is the second installment of a series begun 10 years ago. The island's fortunes have improved since the 1969 film, if only because its young people are no longer so eager to leave. ''If I have to live where I can't see water, it feels strange to an islander,'' says one of the same youngsters who complained of boredom in Mr. Bergman's first installment on Faro. But another, who has moved to a city, says ''It's a useful experience to live in a crowd.''
There are no crowds on Faro, where the population numbers 673. On the evidence of Mr. Bergman's film, the islanders enjoy their solitude, spending some of their most peaceful and rewarding moments alone. An old man is seen cooking a meal of fish he has gutted himself, on a stove fueled by wood he has chopped, then sitting down to dine in solitude. In another scene, a farmer shears a sheep with speed and precision, cradling the animal in his arms though he may soon be sending it off to the slaughter. By interspersing glimpses of tourists and the sounds of rock music with scenes like these, Mr. Bergman makes the islanders' quiet and privacy very precious indeed.
The film devotes lengthy sequences to labor, showing trees being felled or a roof being thatched, or the entire process of butchering a hog. The people of Faro, in accompanying interviews, describe their work matter-of-factly, but the camera presents it as the sustaining force in their lives. Meanwhile, the film also documents the summer influx of idle vacationers, bringing noise and overcrowding and frivolity, breaking the silence.
The manner of ''Faro Document 1979'' is so understated that the disapproval of this tourist invasion is barely noticeable. In fact, Mr. Bergman suggests in his voice-over remarks at the end of the film that the island might benefit if the authorities granted building permits, so that there could be more income-producing cottages to rent to these affluent visitors. But when the film turns from tourism to the sudden, startling beauty of a flock of birds, or a ship beneath a lavender sky, or a full moon on a clear evening, it leaves little doubt about the benefits of overpopulation or progress. Mr. Bergman may be sensible in endorsing the tourists who boost the island's economy, but he can hardly be enthusiastic.
The discretion with which he treats the tourists extends to his own residency on Faro, a subject the film virtually ignores. Mr. Bergman's presence on this tiny island, where he filmed some of his greatest works and lived for many years, cannot have failed to affect the simplicity of the place; it may even have contributed to making the island so well-noticed by outsiders. A T-shirt worn casually by one farmer's wife, with a ''Faro'' logo, says more about the island's popularity than anything Mr. Bergman cares to say. It's too bad he doesn't address his own impact upon the place. As he says about 1989, it might have been interesting
Subtítulos en inglés
http://www.subdivx.com/X6XMTU1NTI3X-fär ... t-1979.htm
Farodokument.1979.dvdrip-kg.avi 
dedicada a TOTEM
Ingmar Bergman
imdB
Código: Seleccionar todo
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No. of audio streams .......................: 1There are no crowds on Faro, where the population numbers 673. On the evidence of Mr. Bergman's film, the islanders enjoy their solitude, spending some of their most peaceful and rewarding moments alone. An old man is seen cooking a meal of fish he has gutted himself, on a stove fueled by wood he has chopped, then sitting down to dine in solitude. In another scene, a farmer shears a sheep with speed and precision, cradling the animal in his arms though he may soon be sending it off to the slaughter. By interspersing glimpses of tourists and the sounds of rock music with scenes like these, Mr. Bergman makes the islanders' quiet and privacy very precious indeed.
The film devotes lengthy sequences to labor, showing trees being felled or a roof being thatched, or the entire process of butchering a hog. The people of Faro, in accompanying interviews, describe their work matter-of-factly, but the camera presents it as the sustaining force in their lives. Meanwhile, the film also documents the summer influx of idle vacationers, bringing noise and overcrowding and frivolity, breaking the silence.
The manner of ''Faro Document 1979'' is so understated that the disapproval of this tourist invasion is barely noticeable. In fact, Mr. Bergman suggests in his voice-over remarks at the end of the film that the island might benefit if the authorities granted building permits, so that there could be more income-producing cottages to rent to these affluent visitors. But when the film turns from tourism to the sudden, startling beauty of a flock of birds, or a ship beneath a lavender sky, or a full moon on a clear evening, it leaves little doubt about the benefits of overpopulation or progress. Mr. Bergman may be sensible in endorsing the tourists who boost the island's economy, but he can hardly be enthusiastic.
The discretion with which he treats the tourists extends to his own residency on Faro, a subject the film virtually ignores. Mr. Bergman's presence on this tiny island, where he filmed some of his greatest works and lived for many years, cannot have failed to affect the simplicity of the place; it may even have contributed to making the island so well-noticed by outsiders. A T-shirt worn casually by one farmer's wife, with a ''Faro'' logo, says more about the island's popularity than anything Mr. Bergman cares to say. It's too bad he doesn't address his own impact upon the place. As he says about 1989, it might have been interesting
Subtítulos en inglés
http://www.subdivx.com/X6XMTU1NTI3X-fär ... t-1979.htm
Farodokument.1979.dvdrip-kg.avi dedicada a TOTEM
