Brink of LifePregnancy and birth present profound challenges for mothers--emotionally and physically--with no guarantees for the accompanying risks. Brink of Life is a drama about a trio of young women staying at a hospital. Cecilia Ellius (Ingrid Thulin) is the newest member, but is suffering from a mix of physical and emotional trauma following a miscarriage. Hjördis Petterson (Bibi Andersson) is the youngest and an unwed mother-to-be, distraught at the idea of having a baby. And the beaming, bouncy Stina Andersson (Eva Dahlbeck) gleefully awaits motherhood, although she is late to deliver her child, which prompts her hospital visit.
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Written and directed by Ingmar Bergman, Brink of Life deals with various ordeals that accompany pregnancy, explored through these three protagonists. From the first, Cecilia is brought to the hospital by her milquetoast husband, Anders (Erland Josephson), because of significant bleeding. Despite being labeled as an "emergency" room, Cecilia is stuck waiting for the doctor to show up, while a seemingly dispassionate nurse performs the intake process, which feels excessively bureaucratic. It is also suggested that Anders didn't bring his wife to the hospital as promptly as he could have, which Cecilia infers is because he never wanted to have the baby in the first place. Left alone, Cecilia suffers a miscarriage, and is hospitalized during her recovery. This tragic opening suggests that Brink of Life is preparing to paint a cynical portrait of the hospital system; subsequent events seem to reinforce this where Cecilia is concerned. For example, the doctors Cecilia deals with range from patronizing and disingenuous to annoyed at having to treat her. Cecilia suffers depression after the loss of her unborn child; after she regains consciousness, she pours forth her feelings of guilt to a nurse, claiming that she wasn't strong enough to support the life within her. Cecilia accuses her husband of being aloof and not loving her or the baby; under fire, he fidgets and stammers, then becomes petulant as he suggests that he should "take back" the flowers he brought for her. Cecilia's experiences in Brink of Life reflect her depressed worldview. She is convinced that she will never be able to bear children, but her outlook is brightened somewhat by her roommates, and how she understands them--and herself--better through their own experiences.
Stina is positively ebullient, and flits about the hospital room performing chores to keep her busy--like folding laundry--until the birth. There is an overwhelming optimism and vivacity to her that is the embodiment of innocence and kindness. That she wears her hair in braids only adds to her playful, youthful character. Unlike Cecilia and Hjördis, the father of Stina's baby, Harry (Max von Sydow), is a kind and loving man with no visible faults or shortcomings. When he visits his wife, he brings a bouquet of flowers from their plot in the community garden that puts Anders' offering to shame. There is never even the hint of disagreement or doubt about the birth of their child; they even kiss passionately when they are reunited and hold one another longingly with affection. It could be that Stina's positivity would only add to Cecilia's grief, but this doesn't appear to be the case. Stina has been a companion of Hjördis for some time; they are on amiable terms when Cecilia is brought into the fold. But Hjördis is filled with profound doubts at having her baby out of wedlock. Despite the canned proclamations her doctor showers on her about "social programs" designed to support her as a single mother, Hjördis feels overwhelming shame. To her, she has disappointed her mother, who told her when she left home that she would invariably return pregnant. Hjördis confesses to Nurse Brita (Barbro Hiort af Ornäs) that she and her inconsiderate boyfriend--who is "too busy" to even visit her in the hospital--had become pregnant before, but that she had an abortion last time. Because she found the experience so horrible, she vowed that she would never to do it again. Instead, Hjördis has been actively trying to miscarry--sharing this with one of her coworkers who does visit her--by means including not taking her medication. Hjördis' youthful pride is really at the core of her distress; she is more worried about proving her mother right than anything else. Although Stina's companionship has supported Hjördis to this point, she discovers that she connects more with Cecilia during their stay. She eavesdrops on her argument with Anders and sympathizes with her. And after Stina is wheeled away to go into labor, the two women open up to one another over a contraband cigarette. Between what happens with Stina and her time with Cecilia, Hjördis has a moment of clarity that changes her attitude about her baby. Because of this revelation, she becomes the one to carry the torch of life into the world in the form of her baby, and not let it be snuffed out before its time.
Recommended for: Fans of a drama punctuated by moments of sorrow and pathos, but one that is ultimately a life-affirming tale of how special childbirth really is. Like many of Bergman's films, Brink of Life features a small cast of some of the best actors to grace the silver screen, and its setting--comprised of only a few small locations--gives the film a quality akin to a stage production.
Stina is positively ebullient, and flits about the hospital room performing chores to keep her busy--like folding laundry--until the birth. There is an overwhelming optimism and vivacity to her that is the embodiment of innocence and kindness. That she wears her hair in braids only adds to her playful, youthful character. Unlike Cecilia and Hjördis, the father of Stina's baby, Harry (Max von Sydow), is a kind and loving man with no visible faults or shortcomings. When he visits his wife, he brings a bouquet of flowers from their plot in the community garden that puts Anders' offering to shame. There is never even the hint of disagreement or doubt about the birth of their child; they even kiss passionately when they are reunited and hold one another longingly with affection. It could be that Stina's positivity would only add to Cecilia's grief, but this doesn't appear to be the case. Stina has been a companion of Hjördis for some time; they are on amiable terms when Cecilia is brought into the fold. But Hjördis is filled with profound doubts at having her baby out of wedlock. Despite the canned proclamations her doctor showers on her about "social programs" designed to support her as a single mother, Hjördis feels overwhelming shame. To her, she has disappointed her mother, who told her when she left home that she would invariably return pregnant. Hjördis confesses to Nurse Brita (Barbro Hiort af Ornäs) that she and her inconsiderate boyfriend--who is "too busy" to even visit her in the hospital--had become pregnant before, but that she had an abortion last time. Because she found the experience so horrible, she vowed that she would never to do it again. Instead, Hjördis has been actively trying to miscarry--sharing this with one of her coworkers who does visit her--by means including not taking her medication. Hjördis' youthful pride is really at the core of her distress; she is more worried about proving her mother right than anything else. Although Stina's companionship has supported Hjördis to this point, she discovers that she connects more with Cecilia during their stay. She eavesdrops on her argument with Anders and sympathizes with her. And after Stina is wheeled away to go into labor, the two women open up to one another over a contraband cigarette. Between what happens with Stina and her time with Cecilia, Hjördis has a moment of clarity that changes her attitude about her baby. Because of this revelation, she becomes the one to carry the torch of life into the world in the form of her baby, and not let it be snuffed out before its time.
Recommended for: Fans of a drama punctuated by moments of sorrow and pathos, but one that is ultimately a life-affirming tale of how special childbirth really is. Like many of Bergman's films, Brink of Life features a small cast of some of the best actors to grace the silver screen, and its setting--comprised of only a few small locations--gives the film a quality akin to a stage production.