Brother Carl by Susan Sontag

By Susan Sontag

In line with 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 undeniable silence remembers Dreyer's Gertrud (rather than Bergman's The Silence and Persona). On nearer inspection, although, it's not like the other Scandinavian movie. The miracles, in contrast to that during Dreyer's Ordet, will not be 'real' ones. yet they're the one sort those characters can come up with the money for. Brother Carl is an outsider's statement, with very own adaptations, on these motifs that filmgoers go along with the Scandinavian movie culture. and masses of its elusive fascination is determined by this versatile distance among fabric that can look customary and the clean glance that establishes its personal perspective."

Brother Carl was once shot in and round Stockholm in 1970 and had its international premier on the Cannes movie pageant in 1971. It was once exhibits on the San Francisco, Chicago, and London movie fairs, and had its U.S. theatrical superior in 1972.

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In Helen (412), she is to be found in Egypt, where she has resided throughout the Trojan War, while a substitute image of her eloped with Paris. Her presence raises epistemological questions about how the true Helen can be identified. Is she the apprehensible, material individual, subject to ordinary laws of cognition, or the mysterious embodiment of her reputation, in the discourse and imaginations of men, that was psychologically manifested in stories and songs at Troy? In Orestes (408), the question becomes baldly ontological and metaphysical: Helen literally vanishes in supernatural circumstances, is elevated to the machine in which only gods could conventionally appear, and is turned, finally, into a constellation.

Some tragedies, notably Oedipus Tyrannus, even make allocation of responsibility itself not only a symptom of suffering but the direct cause of more. 8 Their other activity is suffering, which the play potently synthesizes with the ‘‘why’’ question that it also asks, especially when Hecuba’s bereavements are consummated by the Greeks’ murder of her grandson Astyanax. Few episodes in world theater can rival the emotional impact of the scenes in which the infant is torn from his mother Andromache’s arms, and later laid out by his heartbroken grandmother, a tiny corpse on his dead father Hector’s shield (709–98, 1118–251).

Many tragedies suggest that several causes have combined to create the suffering that they represent. It is not always easy to distinguish the metaphysical from the ontological, or the ethical from the epistemological. Some tragedies, notably Oedipus Tyrannus, even make allocation of responsibility itself not only a symptom of suffering but the direct cause of more. 8 Their other activity is suffering, which the play potently synthesizes with the ‘‘why’’ question that it also asks, especially when Hecuba’s bereavements are consummated by the Greeks’ murder of her grandson Astyanax.

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