Whether he speaks or she does, Bergman’s speech is eventually his, never pretentious and always convincing.
Bergman is peeking where he ought not. Addition to that, he is also showing it to us. “I don’t want to look at it”, is my first reaction, when an environment so naked is created in a room where a married couple is discussing, well.. everything. The writer and director, Ingmar Bergman has to and is pivoting his entire film- that later was also broadcasted as a mini-series, since when he began to write about these character, he ended up with more than 4 hours of well edited storyline- in that very discussion. The finely detailed conversation is what he has majored in, in these characters, and he makes sure he pours in all the care of the world in those philosophical long talks, never derailing from the best asset of his film.
Yes, he does jump up the shark a bit, but carrying this tune for almost three hours, the cinematically choreographed chemistry was mandatory, not to forget, it still is a Bergman production, leading these bizarre events analysed and justified to the core, digging one more level, one more dimension deep into these absorbing personas writhing on screen, in sync. Personally, I felt, the only element that let down was the performance.
Although the long shots gives us a glimpse of theatre performers, performing a play, the 70-ness in them checks the melodrama into an off putting column. Shattered into six various acts, that derives a key element from the previous incident, the confrontation, self-deprivation, blame-game, philosophical and finally and personal favourite, peace. Each of them makes a jump in both time and their perception towards the world, neither making it look repeated nor completely different, their vocab follows a simple rule just as Bergman follows his pattern. Centred around a main event, followed from the previous vital point, followed by a thorough verbal sparring about each others views and ending on a poetic note, is how he paints the Scene From A Marriage.