CAVEAT EMPTOR. Around 1960, when the Bergman bandwagon was gathering full steam, this writer made room for one more convert to climb aboard by jumping off. Since then, I’ve admired some of Bergman’s films, and loathed some others; and some (The Touch, for example, among a half-dozen others) I’ve deliberately not gone to see. I think this needs to be said at the outset. Criticism isn’t written in unbiased objectivity, nor should it be; and to the discussion of Bergman’s latest work I haul a heavy load of prejudice.
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