Cries And Whispers full HD movie download free with screenpaly story, dialogue LYRICS and STAR Cast

In a large 19th-century mansion with red walls and carpets, Agnes is dying of uterine cancer. Her sisters, Maria and Karin, arrive at their childhood home and take turns with the maid, Anna, watching over Agnes. Anna, more religious than the sisters, prays after she lost her young daughter. While Agnes' sisters remain emotionally distant, Anna comforts the suffering Agnes by baring her breasts and holding her at night. When Agnes' doctor David visits, he sees his former lover Maria. Maria remembers their affair and her failed marriage with her husband Joakim, who stabbed himself non-fatally in response to the adultery. David tells her that she has become more indifferent. Agnes remembers their mother, who neglected and teased her and favoured Maria, with greater understanding and recalls sharing a moment of sorrow with her.

Agnes dies after a long period of suffering, and at her wake the priest says that her faith was stronger than his own. Maria tells Karin that it is unusual for them to avoid touching each other or having a deep conversation. She tries to touch Karin, who recoils at the gesture. Karin recalls an earlier occasion at the mansion, where, struggling with self-harm, she mutilated her genitals with a piece of broken glass to repel her husband Fredrik. Karin later dines with Maria, saying that Anna was devoted to Agnes and probably deserves a memento. She also reveals her resentment of Anna's familiarity with her and Maria, her suicidal tendencies, and her hatred of Maria's flirtatiousness and shallow smiles. The sisters reconcile after the argument, touching each other.

In what may be a dream, Agnes briefly returns to life and asks Karin and then Maria to approach her. Karin, repelled by the invitation, says that she still has life and does not love Agnes enough to join her. Maria approaches the undead Agnes but flees in terror when she grabs her, saying that she cannot leave her husband and children. Anna re-enters the room and takes Agnes back to bed, where she cradles the dead Agnes in her arms.

The family decides to send Anna away at the end of the month, with Fredrik refusing to award her with any additional severance pay, and the maid rejects her promised memento. Maria returns to Joakim, and Karin cannot believe Maria's claim that she does not remember their touch. Anna finds Agnes' diary with an account of a visit with Maria, Karin and Anna, with a shared, nostalgic moment on a swing. Agnes wrote that whatever else happens, this is true happiness.

Development

According to Bergman, he conceived the story during a lonely, unhappy time on Fårö when he wrote constantly. He described a recurring dream of four women in white clothing in a red room, whispering to each other. He said that this symbolised his childhood view of the soul as a faceless person who was black on the outside, representing shame, and red on the inside. The persistence of the vision indicated to Bergman that it could be a film, he said, and he planned a "portrait of my mother ... the great beloved of my childhood". Karin has the same name as Bergman's mother, but all four female protagonists are intended to represent aspects of her personality.

A childhood memory of the Sophiahemmet mortuary also influenced the director:

The young girl who had just been treated lay on a wooden table in the middle of the floor. I pulled back the sheet and exposed her. She was quite naked apart from a plaster that ran from throat to pudenda. I lifted a hand and touched her shoulder. I had heard about the chill of death, but the girl’s skin was not cold but hot. I moved my hand to her breast, which was small and slack with an erect black nipple. There was dark down on her abdomen. She was breathing.

Since Bergman's films were difficult to market, foreign capital was unavailable to finance the film. He decided to shoot Cries and Whispers in Swedish rather than English (as his previous film, The Touch, had been) and finance it through his production company, Cinematograph. Although he used 750,000 SEK of his savings and borrowed 200,000 SEK, he also asked the Swedish Film Institute for help with the film's 1.5-million SEK budget. This attracted some criticism, since Bergman was not an up-and-coming director in the greatest need of subsidy. To save money, the main actresses and Nykvist returned their salaries as loans and were nominal co-producers.

In his book, Images, Bergman wrote: "Today I feel that in Persona—and later in Cries and Whispers—I had gone as far as I could go. And that in these two instances when working in total freedom, I touched wordless secrets that only the cinema can discover". In an essay included with the DVD, critic Peter Cowie quoted the director: "All of my films can be thought of in terms of black and white, except Cries and Whispers".

Casting

When Bergman wrote the screenplay, he intended from the start to cast Liv Ullmann and Ingrid Thulin. He explained his choice of Harriet Andersson of Agnes: "I would very much like to have Harriet, too, since she belongs to this breed of enigmatic women". Andersson had not worked with Bergman for years, and he sent her notes rather than a complete screenplay. Ullmann described receiving a 50-page "personal letter" from Bergman describing the story which began, "Dear Friends: We're now going to make a film together. It is a sort of a vision that I have and I will try to describe it". Andersson did not receive a backstory about Agnes; Agnes' sisters were married with children, but Andersson was uncertain whether Agnes had ever married or became ill at an early age and lived with her mother.

Bergman and Ullmann were in a romantic relationship, and their daughter Linn Ullmann appears as both Maria's daughter and Anna's daughter in the photograph. Another of Bergman's daughters, Lena, also appears as young Maria.

The director initially said that he hoped Mia Farrow would be in the film: "Let's see if that works out. It probably will; why shouldn't it?" However, Farrow was never cast. Kari Sylwan, a novice in Bergman's films, had what would have been Farrow's role.

Pre-production

Few of Bergman's previous films were shot in colour. Red was particularly sensitive, and cinematographer Sven Nykvist made many photography tests to capture balanced combinations of reds, whites and skin colours. To the disappointment of Swedish Film Institute members, Bergman refused to shoot in their new, expensive studios and filmed on location at Taxinge-Näsby Castle. Since the mansion's interior was dilapidated, the crew was free to paint and decorate as they saw fit.

Filming

Principal photography took place from 9 September to 30 October 1971. Nykvist used Eastmancolor film, which reduced graininess and would be the most sensitive to colours. The final, outdoor swing scene was shot early in production so the filmmakers could have sunlight before the darker season set in. Ullmann said that every scene was shot in natural light, using large windows for indoor scenes.

Andersson described the on-set mood as light, an antidote to the film's heavy subject matter. She said that although she usually read the screenplay and went to bed early during a production, the filmmakers kept her awake late to enhance her tired, ill appearance. The actress modeled her death scene on the death of her father, and Bergman directed her deep, violent inhalations.