Persona is a film produced in 1966, which highlights psychological drama. Revolving around a young nurse and her patient, the movie examines the curious case of the patient who suddenly stopped speaking. The two move to a cottage, where the nurse is caring for her patient. Eventually, Alma, the nurse, finds it difficult to distinguish herself from her patient Elizabet, especially after sharing intimate secrets. Through this relationship, the theme of duality and personal identity becomes evident, thereby underlining the entire film. In this paper, an evaluative study of the relationship between identities and their duality is conducted. The theme of identity and duality is examined throughout the film.
Duality is present as part of the movie Persona. In many instances, the resemblance of characters is something that has been stressed. Shots of overlapping faces, where one face is visible behind another are some of the characteristics of scenes. In fact, the very fact that Alma could not distinguish herself from Elizabet after sharing her secrets with her in the cottage is evidence of two characters in one. In this scene therefore, the possibilities are endless. It is possible that Alma was fantasizing about her most admired actress, Elizabet. On the other hand, it is equally possible that Elizabet was intrigued by her nurse’s psyche. Alternatively, the boy could have been trying to understand the identity of his mother. According to Susan Sontag – a social critic – the movie is based on a theme of doubling. This effect was achieved when Alma and Elizabet’s faces were merged, bringing out a feature Sontag referred to as the violence of the spirit. As a result, this shot explained to them the duality of every individual – their infinite nature that contains both good and evil.
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On the other hand, Elizabet’s silence could have had a much simpler explanation – her rejection of the role she had recently taken up; being a mother. Being a very good actress, this was the one job she was afraid to take up. Therefore, she responded with silence on her part. This, again, reveals the intimate nature of an individual and their infinity towards evil (Steene, 2005). While Elizabet is struggling with this, Alma sees herself within her. In her own case, she had tried to get rid of a child through a successful abortion. Again, this doubling is evident as both ladies see themselves in each other, further cementing the idea brought about through the shot in which their two faces seem merged. Moreover, the doubling theme could have been one that was a method of the director’s authorial intrusion. Bergman had a rough relationship with his mother as well. From the expressions in the movie, it appears that Bergman’s mother was one who craved a listening ear, a loving heart and someone who would give her their time.
This duality has been a subject of many wild assertions from different scholars. Among some, the two characters represent God and the individual’s moral consciousness, where a standard of perfection exists against the warped sense of good for individuals. For others, it is the fight within the individual to become one person as opposed to another. Alma regrets wasting the opportunity of being a mother, a responsibility that Elizabet seems to be evading. Again, others assert that this is the duality of good and evil within every individual (Stigsdotter & Bergfelder, 2007). As far as the thoughts go, they all confirm the existence of duality and double identity within the film.
In conclusion, duality and identity is a central theme within the film Persona. The film focuses on specific similarities between characters that mirror their experiences. Moreover, the director’s life in itself is also expressed through this story, echoing his struggle to connect with his mother. Overall, the characters effectively bring out duality as Alma struggles to see herself apart from Elizabet.
References
Steene, B. (2005). Ingmar Bergman: A Reference Guide. Amsterdam: Amsterdam University Press.
Stigsdotter, I., & Bergfelder, T. (2007). Studying Cross-Cultural Marketing and Reception: Ingmar Bergman's Persona (1966): The New Film History: Sources, Methods, Approaches. . New York: Palgrave Macmillan.
