The bishop's true colours are well and truly revealed in part 4. He's shown here to have moved on from mere psychological torment, and now wields his ability to manipulate others alongside genuine physical violence. He's one of the most despicable villains I've seen recently, and he's all the more effective because he seems real, and not like a cartoon character; his villainy never quite goes over-the-top to the point where he becomes a "love to hate" character. His dynamic as a terrible stepfather reminds me of the villainous captain in 2006's Pan's Labyrinth.
Also good is that the mother now realises her new husband is terrible. Maybe it seems a little strange that her realisation happens off screen, but maybe the sooner the better - it was always a little odd that she fell for him so hard in the first place, but I guess loneliness can be a terrible feeling.
I think him, the likability of the kids, and the genuinely tense conflict is the reason Fanny and Alexander is a captivating watch, and far more emotionally engaging than Bergman's other films (at least for me). Sometimes, his other ones can be well-made but feel a little distant, but this one hits hard, and does so over the course of many hours, too.
Also good is that the mother now realises her new husband is terrible. Maybe it seems a little strange that her realisation happens off screen, but maybe the sooner the better - it was always a little odd that she fell for him so hard in the first place, but I guess loneliness can be a terrible feeling.
I think him, the likability of the kids, and the genuinely tense conflict is the reason Fanny and Alexander is a captivating watch, and far more emotionally engaging than Bergman's other films (at least for me). Sometimes, his other ones can be well-made but feel a little distant, but this one hits hard, and does so over the course of many hours, too.
