As I delved deeper into the world of this contemporary reimagining of Bergman’s story, I found myself captivated by the raw honesty and relatability it presented. The characters’ struggles with passion, jealousy, and the destructive power they can wield over innocence and love struck a chord within me, resonating with my own experiences and emotions.
The six-part TV series titled “Faithless,” directed by Tomas Alfredson who is known for films like “Let the Right One In” and “Tinker Tailor Soldier Spy,” is a story that European arthouse enthusiasts are familiar with. In this series, renowned director David Howard, aged 73, reconnects with his old flame Marianne Vogler, who is 75 years old. This reunion compels them to confront the painful aftermath of their past affair, which occurred when Marianne was married to David’s close friend Markus. Originally, actress-director Liv Ullmann (known for “Cries and Whispers”), a frequent collaborator and muse of Ingmar Bergman, adapted this story from an unproduced screenplay by the legendary Swedish director in 2000. The drama revolving around passion, infidelity, and the destructive power of desire premiered at Cannes and has been acclaimed as a modern-day masterpiece.
In collaboration with screenwriter Sara Johnsen, Alfredson is remaking the limited series based on Ullmann and Bergman’s original story (originally titled July 22). The central plot remains unchanged: Marianne, portrayed by Frida Gustavsson from “Vikings: Valhalla”, is contentedly married to Markus (August Wittgenstein from “The Crown”). However, the arrival of David, played by Gustav Lindh from “Queen of Hearts”, sets off a summer in the countryside where a potentially destructive affection between Marianne and David unfolds. This event triggers a 40-year emotional turmoil that unfurls in the story. Jesper Christensen, a seasoned Danish actor known for “Casino Royale”, takes on the role of the older David, while Lena Endre, who played Marianne in the 2000 original, reprises her role as the elder version of the character in this adaptation.
In a collaboration with Swedish public broadcasters SVT and ARTE, Miso Film Sweden based in Fremantle was responsible for the production of the series titled “Faithless“. This year, it made its debut at the Toronto Film Festival.
Alfredson and Johnsen opened up to The Hollywood Reporter concerning their apprehensions while adapting a timeless piece, detailing how their ‘Faithless’ deviates from the Ulmann/Bergman original, as well as delving into Bergman’s grasp of female complexities in Swedish cinema.
Didn’t the concept of remaking a film by Ingmar Bergman and Liv Ullman seem challenging, if not downright scary?
Tomas Alfredson: The emotions that come before making a decision to adapt something can be overwhelming. Continually pondering over the choice afterwards could only serve to hold you back and instill fear, preventing you from taking risks. Initially, I must admit it was daunting, but I didn’t allow it to restrict me. Instead, I viewed it as an inspiration and a fantastic opportunity.
Sara Johnsen I concur, yet it’s fascinating to consider the perspective of a woman interpreting Bergman. During my film school days, Bergman was revered as one of cinema’s masters who genuinely comprehended and appreciated women. We had an instructor who emphasized that true greatness in directing requires such understanding or interest. Bergman served as an exceptional illustration of this notion, though it may seem unusual today.
One significant transformation we made in this narrative was to develop the character of Marianne as a vivid, realistic individual rather than just David’s fantasy or figment of his imagination. At first, I hesitated about adapting this story, thinking, ‘it’s Bergman, it’s been done; I prefer contemporary themes and sexual politics.’ However, upon re-reading the script, I became captivated by its honest portrayal of certain aspects, particularly the destructive potential of passion towards innocence and love. The characters’ introspective dialogues, although revealing their inner thoughts, struggle to escape their predicaments, intrigued me. Additionally, collaborating with Thomas, who had a clear vision for this project, having wanted to bring it to life for so long, was an exciting opportunity.
What was it about this story that so obsessed you?
When selecting material, I typically rely on my intuition and physical responses. If a piece makes me laugh, feel uneasy, get excited or scared, I sense that it could lead to something captivating. However, my intentions behind this have significantly shifted over the years. Two decades ago, when I initially considered adapting this story, it was due to deeply personal reasons. At the time, I was in a relationship and found myself consumed by jealousy, which I couldn’t comprehend. It seemed irrational to me, so I sought advice from friends and those around me to try to understand these emotions better.
In the past, the young David character in the original movie left a powerful impression on me. However, I had put the concept aside for quite some time. Then, when offered an opportunity to contribute to Swedish television, I brought it up again. As I am older now and have accumulated new experiences, I find myself relating more to the older David rather than the younger one. My perspective towards the story has evolved. This transformation is also reflected in Sarah’s work, as the ending of this series carries a sense of forgiveness and compassion that is quite rare today. It’s remarkable how mercy for individuals who have committed wrongdoings isn’t often displayed.
As a devoted admirer, I must say that Bergman’s work is relentless in its depiction of suffering. He fearlessly delves into the deepest pains, sparing no character. Yet, despite the grimness, there remains a glimmer of hope in the original narrative. David seems to be contemplating his actions, which suggests some form of redemption. The entire text resonates with this theme – it’s the tale of an aged man who has lost some of his youthful fervor and is now looking back on himself as a young man consumed by passion, jealousy, and ambition. The old man seems to view the young man through a different lens.
During your film school days, you mentioned that Bergman was said to have a deep understanding of women. Now, after immersing yourself deeply in his work, what is your perspective on this statement?
Johnsen Let me speak candidly, given my advanced age. I have a strong conviction that Bergman was deeply preoccupied – perhaps even excessively so – with the subject of female sexuality. This theme was central to his work, and he sought to delve into it and grasp its intricacies. However, it’s undeniable that his perspective was primarily male-centric, as evidenced by his frequent focus on beautiful women.
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2024-09-06 20:28