Overshadowed by passion In the context of Bergman’s work, several main themes stand out and one of the main places here is the topic of human relationships within such a legalized social institution as marriage. In his earlier and more powerful works, such as “Shame” or “The Hour of the Wolf” in the center of Bergman’s narrative was already a married couple, but the emphasis there was more on the experiences of the man. In fact, Touch is the first major work of the director on the analysis and in-depth study of the inner essence of women. However, was this expedition successful in the depths of the female nature?
First of all, it should be mentioned right away, as in most of the director’s other works, Touch is experimental in some way. It should be considered in a clear line of development of the theme of marriage, which also includes the following “Scenes of married life” – “From the life of puppets” and “Sarabandu”. One characteristic feature should be noted - all subsequent ones are television projects and, thus, are made with a slightly different presentation than a full-length film. “Touch”, in turn, was initially positioned as a love drama for cinemas with the maximum attraction of the audience, since the picture was sponsored by the American studio ABC pictures, which decided to release it in the American rental even earlier than in the author’s homeland. Accordingly, many artistic decisions are explained by simple material reasons - half of the film is reserved for American speech, the lover of the main character is also American, the film also contains funny American songs and completely uncharacteristic for Bergman angles and editing glues. Thus, it should be borne in mind, firstly, the film for the director was a kind of introduction to the universe of married life, and secondly, many artistic decisions, no doubt pretty spoiled the picture, were dictated by the direct influence of the film studio. With these two factors in mind, you can objectively and impartially consider the picture.
At first glance, the narrative component is formulaic and simple as three pennies. In fact, this is a typical adultery story set within a happy Swedish family. For the most part, it is treated as an unknown elemental force, suddenly appearing and just as suddenly disappearing, though leaving behind only bare ruins. However, it is important for the director to show two things - that this passion is a kind of hurricane of freedom, breaking first of all the frozen cocoon of disgraceful bourgeois existence, and only then breaking fate itself, and secondly - that its origins are rooted in the existential experiences of the individual, which often manifest themselves under the influence of external circumstances.
So, already in the first scene we see the heroine, who is perhaps in the most tragic moment of her life - her mother has just died, exactly at the second when she is heartbroken, trying to hide from human eyes in a dark corner, and the American archaeologist David notices her. This spectacle of real genuine grief, washing away from the beautiful face all the dye paints, strikes him in the heart. No, the most beautiful work of art can compare in emotionality with real, genuine sincerity. Not only does he fall in love, but in some ways he naturally loses his mind, perhaps seeing the naked soul of another person for the first time without always lying social attire. It is interesting to note another interesting detail - Karin's passion is also not accidental and closely related to the death of his mother. Along with the latter, a metaphysical limitation (a typical Freudian situation) also died. It is no coincidence that the camera focuses on the marriage ring of the deceased, as if emphasizing its faithfulness to the tradition that operates even after the death of the spouse. In Karin’s soul, many different tendencies are struggling, most of which Bergman, as always, can easily catch – but it is very difficult to specify them verbally, so he resorts to figurative expression. And it helps him in this, as always, the genius Bibi Anderson.
It is worth noting that from the hyperclassical formula of the love triangle, Begman squeezed everything possible. We have a complex system of interaction of characters, each of which, as always, is unusually deep, coherent and professionally worked out. David is a typical neurotic, close to madness, whose love is manic. But that is precisely what Karin lacks – her husband, a rock-hard professor whose soundness of judgment and strength of character, perhaps, could be envied by any Greek philosopher. Note that his appearance in the frame is episodic, but the flawless Max von Syudov literally in two minutes radically rearranges the accents in the whole story. It is because of David’s personality that Karin’s love is also compassionate – for her, he is like a small child who can find peace only in her arms. Towards the middle of the film, the story of the relationship becomes more and more complicated, but never gets confused. Ultimately, the love that crushes everything around, leaves all the characters alone with their endless pain and understanding that they are now doomed to loneliness in a universe in which their only companion will be unspeakable longing.
Touch is perhaps Bergman’s most gentle, lyrical and quiet film. It is difficult to say whether it is the talent of a great artist or just unconditional professionalism, but then he again manages to create some magical atmosphere of love sadness, born at the first kiss. The director comes close to the soul of the heroine, trying to understand not so much the motives of her actions as to feel the pain and absurd hope. And he again manages to break the narrow narrative, this time of a love story, opening the way to the infinity and unknown mysteries of the human soul. Mystery and inexplicability, accompanied by a sense of absolute authenticity, generate great respect for this picture. Perhaps someone will say that the abundance of sexual scenes and all sorts of love snares of the characters are knocked off the narrative rhythm, for others the motivations will be too confusing, and the morality is unclear, but the film is still thoroughly imbued with Bergman’s honesty and realism. We do not see template characters in a typical formula, but more than ever live people whose existential pain of existence crushes them to the ground and drives them to madness. Love and passion, however strong they may be, will never bridge the gap between two phenomenal loneliness. The only thing that remains, according to Bergman, is a calm acceptance of reality and a stoic sense of duty against all circumstances. And this truth, as always with the author, is expressed with amazing accuracy.
A few words about the visual style. Touch is a typical Bergman-Nyuqvist work. An abundance of close-ups, absolutely falling into the atmosphere landscapes and entourage, as well as purely theatrical mise-en-scene. There was a place in the film and a lot of symbols and metaphors (Madonna, it is, of course, Karin herself, which is eaten from the inside by worms, as well as a snake trapped). But the main thing that can be done is to catch a picture of the mysterious and unexplored mystery of the human soul and literally for a moment to touch it.