Editing Cries and Whispers (section)

==Production==
===Development===
[[File:Viskningar och rop klänning.jpg|thumb|alt=Long, white dress in a museum|[[Ingrid Thulin]]'s dress as Karin. White dresses against a red background were a key colour motif in the film.]]
According to Bergman, he conceived the story during a lonely, unhappy time on [[Fårö]] when he wrote constantly.<ref name="Nyrerod">{{cite AV media |last1=Nyreröd |first1=Marie |last2=Bergman |first2=Ingmar |date=2015 |title=Introduction by Ingmar Bergman |work=Cries and Whispers |medium=Blu-ray |publisher=[[The Criterion Collection]]}}</ref> He described a recurring dream of four women in white clothing in a red room, whispering to each other. He said that this symbolised his childhood view of the soul as a faceless person who was black on the outside, representing shame, and red on the inside.{{sfn|Gado|1986|p=408}} The persistence of the vision indicated to Bergman that it could be a film, he said,<ref name="Nyrerod"/> and he planned a "portrait of my mother ... the great beloved of my childhood".{{sfn|Gado|1986|p=408}} Karin has the same name as Bergman's mother,{{sfn|Gado|1986|p=409}} but all four female protagonists are intended to represent aspects of her personality.{{sfn|Gervais|1999|p=120}}

A childhood memory of the [[Sophiahemmet]] mortuary also influenced the director:
{{blockquote|The young girl who had just been treated lay on a wooden table in the middle of the floor. I pulled back the sheet and exposed her. She was quite naked apart from a plaster that ran from throat to [[pudenda]]. I lifted a hand and touched her shoulder. I had heard about the chill of death, but the girl's skin was not cold but hot. I moved my hand to her breast, which was small and slack with an erect black nipple. There was dark down on her abdomen. She was breathing.<ref name="Wilson">{{cite web |url=https://www.criterion.com/current/posts/3511-cries-and-whispers-love-and-death |title=Cries and Whispers: Love and Death |publisher=The Criterion Collection |last=Wilson |first=Emma |date=2 April 2015 |access-date=15 November 2017 |url-status=live |archive-url=https://web.archive.org/web/20171116133019/https://www.criterion.com/current/posts/3511-cries-and-whispers-love-and-death |archive-date=16 November 2017 |df=dmy-all }}</ref>}}

Since Bergman's films were difficult to market, foreign capital was unavailable to finance the film. He decided to shoot ''Cries and Whispers'' in Swedish rather than English (as his previous film, ''[[The Touch (1971 film)|The Touch]]'', had been) and finance it through his production company, Cinematograph. Although he used 750,000 [[Swedish krona|SEK]] of his savings and borrowed 200,000 SEK, he also asked the [[Swedish Film Institute]] for help with the film's 1.5-million SEK budget. This attracted some criticism, since Bergman was not an up-and-coming director in the greatest need of subsidy.<ref name=criesandwhispersbergmanfoundation>{{cite web |title=Cries and Whispers |url=http://ingmarbergman.se/en/production/cries-and-whispers |publisher=The Ingmar Bergman Foundation |access-date=28 June 2014 |url-status=live |archive-url=https://web.archive.org/web/20140815061546/http://ingmarbergman.se/en/production/cries-and-whispers |archive-date=15 August 2014 |df=dmy-all }}</ref>{{sfn|Steene|2005|p=44}} To save money, the main actresses and Nykvist returned their salaries as loans and were nominal co-producers.{{sfn|Gado|1986|pp=397–399}}

In his book, ''Images'', Bergman wrote: "Today I feel that in ''[[Persona (1966 film)|Persona]]''—and later in ''Cries and Whispers''—I had gone as far as I could go. And that in these two instances when working in total freedom, I touched wordless secrets that only the cinema can discover".{{sfn|Vermilye|2006|p=123}} In an essay included with the DVD, critic [[Peter Cowie]] quoted the director: "All of my films can be thought of in terms of black and white, except ''Cries and Whispers''".<ref name="rogerebert.suntimes.com">{{cite web |url=https://www.rogerebert.com/reviews/great-movie-cries-and-whispers-1972 |title=Cries and Whispers |last=Ebert |first=Roger |publisher=[[RogerEbert.com]] |date=18 August 2002 |access-date=12 November 2017 |url-status=live |archive-url=https://web.archive.org/web/20171001040606/http://www.rogerebert.com/reviews/great-movie-cries-and-whispers-1972 |archive-date=1 October 2017 |df=dmy-all }}</ref>

===Casting===
{| class="wikitable floatright"
|+ Cast list
|-
! {{anchor|Cast}}Actor{{sfn|Vermilye|2006|p=139}}
! Role <!-- or "Character" -->
|-
| {{sortname|Harriet|Andersson}}
| Agnes
|-
| {{sortname|Kari|Sylwan}}
| Anna
|-
| {{sortname|Ingrid|Thulin}}
| Karin
|-
| {{sortname|Liv|Ullmann}}
| Maria (and her mother)
|-
| {{sortname|Anders|Ek}}
| Isak, the priest
|-
| {{sortname|Inga|Gill}}
| Aunt Olga
|-
| {{sortname|Erland|Josephson}}
| David
|-
| {{sortname|Henning|Moritzen}}
| Joakim
|-
| {{sortname|Georg|Årlin}}
| Fredrik
|-
| {{sortname|Linn|Ullmann}}
| Maria's daughter
|-
| {{sortname|Lena|Bergman}}
| young Maria
|}
When Bergman wrote the screenplay, he intended from the start to cast [[Liv Ullmann]] and [[Ingrid Thulin]]. He explained his choice of [[Harriet Andersson]] for Agnes: "I would very much like to have Harriet, too, since she belongs to this breed of enigmatic women".<ref name=criesandwhispersbergmanfoundation/> Andersson had not worked with Bergman for years, and he sent her notes rather than a complete screenplay.<ref name="CowieAndersson">{{cite AV media |last1=Cowie |first1=Peter |last2=Andersson |first2=Harriet |date=2015 |title=Harriet Anderrson on Cries and Whispers |work=Cries and Whispers |medium=Blu-ray |publisher=The Criterion Collection}}</ref> Ullmann described receiving a 50-page "personal letter" from Bergman describing the story which began, "Dear Friends: We're now going to make a film together. It is a sort of a vision that I have and I will try to describe it".{{sfn|Long|2006|p=6}}{{efn|Before the director's death in 2007, Ullmann starred in 11 of his works and became known as his muse.<ref name="Shanahan">{{cite web |url=https://www.bostonglobe.com/lifestyle/names/2016/05/20/liv-ullmann-talks-about-ingmar-bergman/TrsHLpqPQo2VKY8Lp9uxVI/story.html |last=Shanahan |first=Mark  |date=20 May 2016 |title=Liv Ullmann talks about Ingmar Bergman |work=[[The Boston Globe]] |access-date=11 October 2017 }}</ref> [[Roger Ebert]] remarked Bergman and Ullmann's "lives have been intertwined since ''[[Persona (1966 film)|Persona]]'', and that's been the most important fact in ... [Ullmann's] artistic life", and they also had a daughter, [[Linn Ullmann]].<ref>{{cite web |url=https://www.rogerebert.com/interviews/liv-ullmann-and-memories-of-bergman |last=Ebert |first=Roger |date=16 February 2001 |title=Liv Ullmann and Memories of Bergman |publisher=RogerEbert.com |access-date=11 October 2017 }}</ref> }} Andersson did not receive a backstory about Agnes; Agnes' sisters were married with children, but Andersson was uncertain whether Agnes had ever married or became ill at an early age and lived with her mother.<ref name="CowieAndersson"/>

Bergman and Ullmann had a previous romantic relationship, and their daughter [[Linn Ullmann]] appears as both Maria's daughter and Anna's daughter in the picture.{{sfnm|1a1=Gado|1y=1986|1p=414|2a1=Gervais|2y=1999|2p=133}} Another of Bergman's daughters, [[Lena Bergman|Lena]], also appears as young Maria.<ref name=criesandwhispersbergmanfoundation/>

The director initially said that he hoped [[Mia Farrow]] would be in the film: "Let's see if that works out. It probably will; why shouldn't it?" However, Farrow was never cast.<ref name=criesandwhispersbergmanfoundation/> [[Kari Sylwan]], a novice in Bergman's films, had what would have been Farrow's role.<ref name="Cowie"/>

===Pre-production===
Few of Bergman's previous films were shot in colour. Red was particularly sensitive, and cinematographer [[Sven Nykvist]] made many photography tests to capture balanced combinations of reds, whites and skin colours.<ref name="Nyrerod"/> To the disappointment of Swedish Film Institute members, Bergman refused to shoot in their new, expensive studios and filmed on location at [[Taxinge-Näsby Castle]].<ref name="Cowie"/><ref>{{cite web|url=http://www.sfi.se/sv/svensk-film/Filmdatabasen/?itemid=4905&type=MOVIE&iv=RecordingPlace |archive-url=https://web.archive.org/web/20110613120521/http://www.sfi.se/sv/svensk-filmdatabas/Item/?itemid=4905&type=MOVIE&iv=RecordingPlace |archive-date=13 June 2011 |title=Viskningar och rop (1973) – Inspelningsplatser|publisher=Svenska Filminstitutet|language=sv|access-date=17 January 2010}}</ref> Since the mansion's interior was dilapidated, the crew was free to paint and decorate as they saw fit.<ref name="Cowie"/>

===Filming===
[[File:Taxinge Näsby slottet 02.JPG|thumb|alt=Large, two-story tan-and-white house|''Cries and Whispers'' was filmed at Taxinge-Näsby Castle, outside [[Mariefred]].]]
[[Principal photography]] took place from 9 September to 30 October 1971.<ref name="Cowie">{{cite AV media |last=Cowie |first=Peter |date=2015 |title=On-Set Footage |work=Cries and Whispers |medium=Blu-ray |publisher=The Criterion Collection}}</ref> Nykvist used [[Eastmancolor]] film, which reduced [[Film grain|graininess]] and would be the most sensitive to colours.{{sfn|Armstrong|2012|p=84}} The final, outdoor swing scene was shot early in production so the filmmakers could have sunlight before the darker season set in.<ref name="Cowie"/> Ullmann said that every scene was shot in natural light, using large windows for indoor scenes.{{sfn|Long|2006|p=6}}

Andersson described the on-set mood as light, an antidote to the film's heavy subject matter. She said that although she usually read the screenplay and went to bed early during a production, the filmmakers kept her awake late to enhance her tired, ill appearance.<ref name="CowieAndersson"/> The actress modeled her death scene on the death of her father, and Bergman directed her deep, violent inhalations.<ref name="CowieAndersson"/>