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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 undeniable silence remembers Dreyer's Gertrud (rather than Bergman's The Silence and Persona). On nearer inspection, even though, it truly is not like the other Scandinavian movie. The miracles, not like that during Dreyer's Ordet, aren't 'real' ones. yet they're the single style those characters can come up with the money for. Brother Carl is an outsider's remark, with very own adaptations, on these motifs that filmgoers go together with the Scandinavian movie culture. and lots more and plenty of its elusive fascination will depend on this versatile distance btween fabric that could look widespread and the clean glance that establishes its personal perspective."

Brother Carl was once shot in and round Stockholm in 1970 and had its global most popular on the Cannes movie competition in 1971. It used to be exhibits on the San Francisco, Chicago, and London movie fairs, and had its U.S. theatrical prime in 1972.

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MARTIN Now you recognize why I left Lena 5 years in the past. New shot, from the part of the mattress. KAREN is within the foreground. She is tilted backward at the mattress, helping herself on her elbows. MARTIN (behind her within the shot) lies on his correct aspect, propped up on his correct elbow. He seems to be heavily at KAREN. within the rear of the shot (against the wall, to the left of the only window within the room) is a big blowup of a photo of a girl (her head and shoulders), wide-eyed, doll-like. MARTIN Why are you right here at the mattress with me? KAREN doesn’t answer, doesn’t examine him. MARTIN leans towards her, undoes her shawl, and kisses her neck evenly. KAREN is still fullyyt passive. basically while MARTIN has moved his head clear of hers does she converse. KAREN Don’t play those video games with Lena. Please! MARTIN Out of pity? KAREN If that’s the single cause you have—yes. MARTIN might you do it for this reason? As she solutions, KAREN stands up, crosses to the window, and ties her shawl back. KAREN Oh, I’m no commonplace … She turns again from the window, passes alongside the wall—the digital camera pans with her—and stops to the left of the entrance. putting at the wall, monitor left of her head, is a crude Sicilian ex-voto painted on wooden, depicting an coincidence (a little boy being hit through a car). She stares with cool detachment at MARTIN (who is off-camera). Then, on a sound—like somebody falling over a steel rubbish pail—coming from outdoor the cottage, she turns sharply. Off-camera, MARTIN has gotten up. He enters the shot on the doorway and pauses for a second beside KAREN, with out taking a look at her or touching her. Then he keeps into front room. throughout the doorway, we see him position himself at the small striped sofa (next to the wall at the correct) in order that his legs are immediately up opposed to the wall and his head hangs down towards the ground. He shuts his eyes. within the history of the shot, propped opposed to the a long way wall to the proper of front door, is a big blowup of a photo of a woman’s head and neck (in left profile): an anatomical version, with the surface of the neck pulled again, exposing the community of muscle mass, veins, and arteries. opposite perspective shot (the digital camera is low, at the some distance aspect of the couch), displaying MARTIN’S head within the foreground and within the rear correct of the shot KAREN (in complete determine) status within the doorway, taking a look down at MARTIN. She is shocked, offended. KAREN Is that how you push aside humans? She pauses one other second, then enters front room. As she passes in entrance of MARTIN, he speaks (still no longer beginning his eyes). His voice is flat. MARTIN Excuse me for no longer strolling you again to the inn. KAREN is going out of the shot (toward front door). We pay attention the sound of the door commencing, steps. MARTIN continues to be within the related upside-down place. Then we pay attention a muffled cry (KAREN, off) coming from open air. MARTIN turns his head sharply, opens his eyes vast. speedy reduce. 17. close to Martin’s cottage. A second later Medium shot of KAREN and CARL, suffering. KAREN is whimpering with worry. CARL has seized KAREN’S palms and won’t permit move; CARL’S outstretched hands are inflexible; his eyes stare fixedly and his face is expressionless.

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