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By Susan Sontag
Based on Edgardo Cozarinsky, the Argentine movie critic: "There is anything recognizably Scandinavian approximately Brother Carl: un-easy, perplexing exchanges among its characters, with brooding, ever-present nature surrounding them. The interaction of formal speech and simple silence remembers Dreyer's Gertrud (rather than Bergman's The Silence and Persona). On nearer inspection, although, it truly is in contrast to the other Scandinavian movie. The miracles, not like that during Dreyer's Ordet, aren't 'real' ones. yet they're the single sort those characters can come up with the money for. Brother Carl is an outsider's statement, with very own diversifications, on these motifs that filmgoers go together with the Scandinavian movie culture. and masses of its elusive fascination is determined by this versatile distance among fabric that could appear accepted and the clean glance that establishes its personal perspective."
Brother Carl used to be shot in and round Stockholm in 1970 and had its international most popular on the Cannes movie competition in 1971. It used to be exhibits on the San Francisco, Chicago, and London movie fairs, and had its U.S. theatrical greatest in 1972.
Note: This book version doesn't include pictures.
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Extra info for Brother Carl
Another work sometimes suggested for this first season is a play about the early years of the reign of Richard II, usually referred to as Woodstock. The work exists only in manuscript (Egerton MS 1994) and has never been precisely dated. Chambers identified it as 1 Richard the Second and thought it must have been performed by the Chamberlain’s Men. If so, staging requirements that demand only a minimal within and no above would make it plausible for the Chamberlain’s Men during the Cross Keys season.
As an adult, his name shows up in a number of Jonson’s cast lists, and he was listed among the Folio’s Principall Actors. Although he died young, he was married by 1603, which means he was then an adult out of his bonds and probably in his mid-twenties. It is possible that Cooke was the son of an actor named Lionel Cooke, who had been one of the twelve original Sharers in the Queen’s Men in 1583. Lionel disappears from the record of that company after 1588. This may mean nothing, for the membership of that company in the ensuing years is very uncertain, but it probably means that he retired or died shortly afterward.
The fraudulent blind man Simpcox, supposedly blind and frail, is a brief Hired Man bit firmly in the line of old coots that would become Cowley’s specialty, probably borrowing Kempe’s younger apprentice for his wife. Suffolk has an attractive “proportion” (I,iii,54), which tells us little, because Heminges and Phillips were playing twins only a few months earlier; the number of scenes he has with Margaret suggests Phillips, whose boy has been somewhat more feminine than Heminges’s apprentice. York is actually the largest role in the play, with far more lines than Salisbury, so his role probably went to Heminges, more experienced than Shakespeare.
Brother Carl by Susan Sontag