A considerable effort from Thulin & Bjornstrand saves a less than worthy script. Unlike most everything else from this director, I could see a repeat viewing bringing this one down. The anti-authoritarian/censorship part of it is overtly displayed and kind of lame.

Seems to be a somewhat under-appreciated Bergman, perhaps because it is so theatrically caustic and psychologically violent, but Bergman brings an energy and complexity to the dialogue and performances that other directors seem incapable of achieving. The strange psycho-anthropological dynamic is peculiarly cinematic, even though, like the masterpieces "Scenes from a Marriage" and "Fanny and Alexander," this was made for television.

Compact and aggressive. Thulin is remarkable, as usual.

From the opening notes of dissonant piano, you know you're in for something strange. The intensity of the film is enthralling, but also hysterical to the point of ridiculousness. Certain events only make sense from a subjective, metaphorical viewpoint. There seemed to be three themes being juggled here: the nature of actors and their work, the tumultuous and twisted relationships between the characters, and some sort of anti-censorship message. It was a bit messy.