By Susan Sontag

According to Edgardo Cozarinsky, the Argentine movie critic: "There is anything recognizably Scandinavian approximately Brother Carl: un-easy, perplexing exchanges among its characters, with brooding, ever-present nature surrounding them. The interaction of formal speech and simple silence remembers Dreyer's Gertrud (rather than Bergman's The Silence and Persona). On nearer inspection, even though, it's not like the other Scandinavian movie. The miracles, not like that during Dreyer's Ordet, aren't 'real' ones. yet they're the single variety those characters can find the money for. Brother Carl is an outsider's observation, with very own diversifications, on these motifs that filmgoers go together with the Scandinavian movie culture. and lots more and plenty of its elusive fascination is determined by this versatile distance btween fabric which could look commonplace and the clean glance that establishes its personal perspective."

Brother Carl was once shot in and round Stockholm in 1970 and had its...

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Medium shot of KAREN, in bed. She does not look at LENA. Three-quarters frontal shot of LENA on the other side of the partition (KAREN’S point of view). LENA is looking through the slats at KAREN. LENA At first it was Martin who seemed to have all the doubts … Especially about his work. And I wasn’t very reassuring, I suppose. That kind of theatre had always seemed to me just … beautiful. Too beautiful. (Pause) Then I heard ugly rumors about him and a girl in the company. People even dragged in stories—about Carl Norén.

No inquiry about my next film project, which does not surprise me, since there was a rumor circulating in the company well before the shooting began that Lindgren wants Sandrew to lay off film production altogether for a while. He turns toward his office, and I go down into the street—though not to look for the sun. In Stockholm in January, even noon is still night. I find that I’m relieved not to be asked back. That particular, intense, “Swedish” trip inside my head is over. I can start making films elsewhere: France perhaps; soon, I hope, the United States.

MARTIN’S one-story cottage, which was built in the eighteenth century, has four rooms, square in shape, that connect with each other by doorways that lack a door. ) LENA advances to the threshold of the sleeping room, holds the frame of the doorway with both hands, leans in, then turns around to face MARTIN (who is off-screen). LENA A little glad to see us? Tell the truth. Medium shot, from another angle, of MARTIN, standing in the center of the front room. Bending over, he is taking off one boot.

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