'Winter Light' is the second film of an informal trilogy by
Ingmar Bergman, which is preceded by 'Through the Glass Darkly' and is followed
by 'The Silence'. The trilogy explores the spiritual issues of human existence.
A trend can be observed through the three films – from the spiritual
perspective common in many of Bergman's earlier films to the more secular
perspective in his later films. Though I prefer a more secular reading of 'Through
the Glass Darkly' (mental illness as opposed to spiritual experience), for many
Bergman's intention in the film was to demonstrate the possibility of
spirituality. 'The Silence', in contrast, was signifying God's silence, and the
film placed its focus on humanistic issues. That made 'Winter Light' an
interesting transition because, this middle film appeared to have the most
ambivalent tone in all three films. Conflicting interpretations abound from
different viewers, and Bergman welcomed both spiritual and secular
interpretations. He seemed to suggest that, no matter how modernized human
societies have become, the issue of faith is just as thought-provoking as ever.
In 'Winter Light', Tomas was a pastor in a small rural
church. His responsibility was to provide a channel for people to be closer to
God. Yet, as many critics have agreed, what Bergman has tried to do in the film
is to 'smash the proof of God'. Through Tomas' observations, he had plenty of
evidence to conclude that (a) either God did not exist, or (b) God was not
benevolent. Thus no place of Theodicy, and no pre-established harmony advocated
by Leibniz.
Organized religion, for which Tomas was part of, has become a
meaningless ritual, and it has failed to enlighten the people. Tomas suffered a
spiritual crisis himself, and was consumed by apocalyptic paranoia. Marta, who
was Tomas' ex-mistress and felt that Tomas has alienated her in their
relationships, has proactively tried to mend fences with him. Yet, she was the
most avid disbeliever of God. The whole issue has become a psychological one –
when people encounter bad things in their lives, they are willing to deny God's
existence in order to reconcile the harsh reality with their experience.
The scenario of 'Winter Light' reminds me of Paul Schrader's
book on Transcendental Style. Tomas has passed through the 'everyday' –
carrying out his duties in the church and also making sense of God's teachings
for the people around him. He then faced 'disparity' - from his own experience
and his interaction with others, he was on the verge of losing his faith no
matter how he has tried to convince himself about religiosity. Thus, was
'transcendence' possible for Tomas?
That came to the most contentious part of the film, where
viewers have drawn up their own conclusions. Bergman gave an open-ended answer.
At the end, Tomas had to carry out the ceremony service even when there was
only one person in the Church. More ironies were apparent – that single person
was Marta, and the self-proclaimed atheist started to pray. The outcome
regarding Tomas was just as ambivalent. While he has sorted out his thinking
and come to admit of God's silence, something he would rather choose not to
believe; he still provided the consolation of God's benevolence through the
ceremony. Was it an existential understanding of his own status, or was the
doubt regarding God's absence a necessary part to reach a firmer faith to God,
like Christ on the Cross? As for Marta, while some viewers might interpret
Tomas has convinced Marta of God's presence through the film, it could also
simply be that Marta treasured the compassion with Tomas and came for an
emotional support. Bergman might be subtle here, yet the focus has displaced
from the existence of God to the possibility of human relationships, the
central theme that has defined so many of the masterpieces in his later years.
by Ed Law
Film Analysis
