Fannie and Alexander

Ingmar Bergman’s film Fannie and Alexander is paradoxical. Part one of the movie shows us the dysfunctional Eckdahl family in which Fannie and Alexander are born to. They have loose morals, are artsy, and loving towards their children. Part two of the movie shows us the hypocritical, Vergerus family who is sterile, rigidly disciplined, and aggressively cruel towards the children all in the name of God. It is a contrast between light and dark, which both families seem to embody. Each has their earthly and spiritual sides.

The father of Fannie and Alexander is Oscar Eckdahl. He is pale and out of breath often. It is stated that he works too hard at what he loves, which is the theatre. His mother Helena expresses concern about his health to his wife Emily. He eventually dies playing Hamlet’s ghost and he becomes a ghost to his son Alexander. Oscar’s ghostly appearance is out of concern for his children. His spirit is weighed down by this earthly concern and cannot pass on until his worries are put to rest.

Alexander sees his father’s ghost. At first he is comforted by it then he is annoyed. In his despair over the Bishop’s cruelty towards him and Fannie he asks his father why he can not just go to God and ask that he kill the Bishop. Alexander tells his father to move on that he can not help them right now. He tells Oscar to go to heaven and get help. Alexander deals with his present abusive life through escapism and lies. Or rather are they lies or just premonitions of what the truth is? Can you call it black when it could be white? Is it just in the interpretation of the audience?

Ingmar Bergman further leads us on this questioning journey to another crossroad, which presents itself as Ismael. He is by far the most interesting character in this film. Ismael is the glimmering light in the darkness and he is considered dangerous. This is a paradox. For Ismael is the savior-he is the saving grace. Ingmar Bergman is saying to us if you do not understand what I am trying to convey in this film yet, here is more of a clue. I see it as a flaming sword. Ismael’s danger is that he possesses a secret metaphysical knowledge. He is able to read minds, change signatures, and perhaps alter a chain of life’s events by seeing through another person’s eyes. He appears feminine, but is introduced to us as Isaac’s nephew. Ingmar Bergman might have been stating that women are more in tune with this sort of knowledge.

Alexander is led to Ismael’s room by Aron (Ismael’s brother). Ismael requests a longer visit with Alexander sensing his despair and urgency. He places his hands on the boy’s temples and sees into his mind. Ismael sees his fears and desires. Alexander’s desires center on the Bishop’s death. Is it by Ismael’s powers or did Oscar go to God for help to cause the Bishop’s death? All this would be an end if it were not for the Bishop’s ghost appearing to Alexander in the corridor one night. He knocks Alexander down to discipline him even in death.

The doors of perception are open to the audience. It is the theatre of the mind. Ingmar Bergman sets the stage and gives us clues but we are left to decide for ourselves. Are our decisions based on our own spiritual beliefs or on our fears of a parallel metaphysical universe that merges with ours at times? Can our desires be fulfilled just by wanting them badly enough? Or is it a convergence of the paradox turning into a tornado that brings about the change?