Editing Cries and Whispers (section)

==Style==
[[File:Red (34286724965).jpg|thumb|alt=Red rectangle|[[Crimson]] features extensively in the film's [[colour scheme]].]]
In 1972, ''[[Variety (magazine)|Variety]]''{{'s}} staff defined "Bergman's lean style" as including a "use of lingering close-ups, fades to red and a soundtrack echoing with the ticking of clocks, the rustle of dresses and the hushed cries of the lost".<ref name="Variety"/> Critic [[Richard Brody]] called ''Cries and Whispers'' a [[period piece]] in which costumes are prominent.<ref name="Brody"/> According to Gervais, Bergman had shed his previous austerity in favour of greater aesthetics.{{sfn|Gervais|1999|p=120}}

Wilson noted the film's red rooms occupied by women in white, and the "azure, [[Garden of Eden|Edenic]] images of the start are gradually engulfed in crimson".<ref name="Wilson"/> Producer [[Bruce A. Block]] described its colour variety as minimal, with an emphasis on "extremely [[Saturation (color theory)|saturated]] red".{{sfn|Block|2013|p=164}} According to Richard Armstrong, the Eastmancolor film added "a livid, slightly oneiric quality".{{sfn|Armstrong|2012|p=84}} Two rooms in the first scene  (one where Maria is sleeping and the other being Agnes' room) are joined by the same colours, including "blood red" carpets and drapes and white pillows and nightdresses.{{sfn|Wilson|2012|p=107}} Wilson observed that the film has fade-ins and fade-outs in saturated reds.<ref name="Wilson"/> Sitney analysed ''Cries and Whispers''{{'}} colour scheme, writing that there are moves from red with white to red with black to orange and [[ochre]] (in the final, autumnal outdoor scene).<ref>{{cite journal |title=Color and Myth in Cries and Whispers |journal=Film Criticism |last=Sitney |first=P. Adams |date=Spring 1989 |volume=13 |issue=3 |page=38}}</ref> Blood, seen when Maria's husband injures himself and Karin cuts her vulva, echoes an earlier view of the mother character holding a red book against her dress. Sitney associates this with [[menstruation]] and [[castration]].<ref>{{cite journal |title=Color and Myth in Cries and Whispers |journal=Film Criticism |last=Sitney |first=P. Adams |date=Spring 1989 |volume=13 |issue=3 |page=39}}</ref>

Wilson described other uses of imagery: statues filling a garden, decorations, sunlight on a clock and a view of Maria revealing the "texture" of her hair.{{sfn|Wilson|2012|p=107}} Images follow one another in the five-minute prologue with no spoken words.{{sfn|Dancyger|2013|p=385}} The close-ups of Maria in the initial scene are childlike.{{sfn|Rueschmann|2000|p=140}} Agnes is seen with an open mouth and moist eyes, depicting her pain.{{sfn|Wilson|2012|p=108}} Her memories of her mother are idealised, with the "flourishing greenery of the Edenic garden".{{sfn|Rueschmann|2000|p=139}} Surveying the visuals and Bergman's depiction of social isolation and mourning, critics Christopher Heathcote and Jai Marshall found parallels in the paintings of [[Edvard Munch]].<ref>{{cite magazine |title=Cries and Whispers: The Complete Bergman |magazine=[[Quadrant (magazine)|Quadrant]] |last1=Heathcote |first1=Christopher |last2=Marshall |first2=Jai |date=April 2013 |volume=57 |issue=4 |pages=84–91}}</ref>

{{listen|type=music|filename=Frederic Chopin - mazurka no. 4 in a minor, op. 17.ogg|title=Mazurka in A minor|description=The film includes a [[Frédéric Chopin|Chopin]] [[mazurka]].|format=[[Ogg]]}}
[[Johann Sebastian Bach]]'s sarabande from [[Cello Suites (Bach)|Cello Suite No. 5 in C minor]], performed by [[Pierre Fournier]], is used in the film.{{sfn|Vermilye|2006|p=139}} Noting its use when the two sisters touch affectionately, critic [[Robin Wood (critic)|Robin Wood]] wrote that it fit Bergman's use of Bach to signify "a possible transcendent wholeness".{{sfn|Wood|2012|p=258}}{{efn|name="Bach"|Wood connected this usage of the music of [[Johann Sebastian Bach]] to ''The Silence'' where the [[Goldberg Variations]] play, and ''[[Autumn Sonata]]'' where it is used in a moment of unity, and contrasted it to darker usage in ''[[Through a Glass Darkly (film)|Through a Glass Darkly]]'' and ''Persona''.{{sfn|Wood|2012|pp=258-259}} }} The score also contains [[Frédéric Chopin]]'s [[Mazurkas, Op. 17 (Chopin)|Mazurka in A minor, Op.17/4]], performed by [[Käbi Laretei]].{{sfn|Vermilye|2006|p=139}} According to musicologist Alexis Luko, Bergman's use of the mazurka when Anna recalls her deceased daughter communicates "a sensory moment of reminiscence".{{sfn|Luko|2015}}

Sounds are used in other ways, with Anna's dead daughter apparently audible when Anna is near the cradle following Agnes' death.{{sfn|Wilson|2012|p=115}} The prologue's bells and clocks are more audible than the natural sounds preceding them; Agnes' struggle to breathe soon joins the clocks' ticking, with editor [[Ken Dancyger]] finding "the continuity of time and life".{{sfn|Dancyger|2013|p=385}}