“Whispers & Cries” is a film that uses minimalism with a decline due to the effect of color film and the filling of objects. However, Bergman still keeps playing the plane, angular. In particular, he attaches great importance to their strict symmetry which gives the impression of a frozen, inaccessible world between living spaces. The first half of the film conveys a realistic sense of reality thanks to the red color of the throttle, but more towards the end, accompanied by inner graphs, reduced colors and the invasion of empty spaces (corridors and the memorial room of the character Agnes) is gray and gloomy black.
A piece back and forth in I. Bergman’s staging arts is the “mirror” and its variations: water surface, camera lens, screen. Repetition phenomenon established the narrative function of this props. In the opening of “Persona”, the boy touches a large screen like a mirror reflecting the faces of the two main characters. Here, the use of cameras and editing, on the one hand, produces unexpected effects, on the other hand, participates in removing the objective logic of the film world, instead cue for the abstract. its statue. The director selects the middle of the scene, the frame moves according to the character to bring out the time, increasing the stasis, slowly in the rhythm of the room surrounded by silent walls. Suddenly, the character turned to face the lens, raising his hand to the front plane. This helps us imagine the existence of extraterrestrial space. Next, the director cut the scene to switch back to see what he was touching.
The contrasting light, the shallow space overwhelmed by the magnifying-up face of the opposite of the previous frame created an emotional kick. The technique of exposure and depth of field brings double shyness in the face whitening effect. Viewers witnessed the phenomenon of smudged lines full of spectacular. It is reminiscent of the scene near the end of the film when the faces of Alma and Elisabeth become one. But the mirror also has narrative value for the boy himself. There is an opinion that this character is the son of Elisabet mentioned in the film, but if you compare the picture and the boy, it is completely different.
In my opinion, to explain for this stage we need to rely on some of the following bases: First, Bergman’s film is abstract, rational, using dream language. Second, he often projects his childhood memories on the screen through free and spontaneous associations. Third, the film Bergman revolves around the female characters and according to Vilgot Sjoman, the talented director confided in preparing the script for “The silent”: he will “translate” the dreams of the two men into a story about two women; “He was afraid that the part was too close to him”  (from Kinematography and the Analytic Text: A reading of Persona by P. Adams Sitney). This allowed another possibility to appear: the boy was Bergman’s image and his internal mirror, his obsessive obsession. Mirror becomes the place to preserve memories. Reflecting on the mirror is starting to explore, to experience what has lived through. The mirror world satisfies its desire to be oneself (because mirrors nonetheless faithfully reflect images of us). It helps people get rid of the “Super Me” to return to “that”. Bergman’s choice of women rather than men could be interpreted as a “compromise” of “that” with “super me” (he instinctively evokes gender-changing acts as a way of providing a passport). scene for it).