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According to Edgardo Cozarinsky, the Argentine movie critic: "There is anything recognizably Scandinavian approximately Brother Carl: un-easy, difficult exchanges among its characters, with brooding, ever-present nature surrounding them. The interaction of formal speech and undeniable silence recollects Dreyer's Gertrud (rather than Bergman's The Silence and Persona). On nearer inspection, although, it really is not like the other Scandinavian movie. The miracles, in contrast to that during Dreyer's Ordet, usually are not 'real' ones. yet they're the single style those characters can have the funds for. Brother Carl is an outsider's observation, with very own adaptations, on these motifs that filmgoers go along with the Scandinavian movie culture. and masses of its elusive fascination is determined by this versatile distance btween fabric that can look regular and the clean glance that establishes its personal perspective."

Brother Carl used to be shot in and round Stockholm in 1970 and had its global finest on the Cannes movie competition in 1971. It was once exhibits on the San Francisco, Chicago, and London movie fairs, and had its U.S. theatrical best in 1972.

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Then she turns round and is derived out back (walking towards the camera). usual sounds: the ocean, wind, and so forth. The digicam follows as LENA walks up and down the seashore for a couple of moments. She turns out chilly. She seems round, as though she was hoping that somebody would seem to prevent her. towards the tip of the shot, the song begins back. Sound of sea and wind maintains. Very lengthy shot of the abandoned seashore. track; sound of sea, wind. Medium shot: LENA, visible from the waist up, returns to the water. The digital camera tracks ahead, then stops. LENA, now visible in complete shot, maintains strolling till the water is over her head. (This shot doesn’t imitate the composition or framing of the shot in series 19 within which CARL walks into the water. ) song up; sound of sea, wind. one other model of the 1st shot during this series. Silence. forty seven. song room of Martin’s cottage. Later that morning The display is totally crammed by way of a caricature of 2 woman dancers in black leotards. The drawing is tough: arrows indicating activities at the level, and so forth. After a second, MARTIN (seen from at the back of) stands up into the body from below—only his head and top torso—then is going out at the correct. Footsteps. tune in the course of the shot. lengthy shot, excessive attitude, of the part of the room the place MARTIN has been making sketches for a brand new paintings. within the heart of the picture: a protracted desk strewn with drawings, pencils, crayons, an ashtray with a nonetheless burning cigarette, and so forth. Propped up opposed to the wall above the desk is the massive sketch—on four′ × four′ cardboard—seen within the prior shot; purely the reduce part is obvious. song fades out in the beginning of this shot. Sound of a shutter banging within the wind. forty eight. Rocks close to the seashore. past due that morning Three-quarter shot, low perspective, of CARL. Convulsive tune; loud ordinary sounds: wind, the ocean. CARL is status on a flat rock, his huge blanket draped over his shoulders; he wears his mild sweater and tan pants with the bottoms rolled as much as mid-calf. CARL is asking down, towards the ocean (i. e. , towards the camera), an expression of horror on his face. Transfixed by means of what he sees, he opens and closes his mouth as though he desires to converse or scream, yet no sound comes out. track stops; wind, sea up. CARL flings off his blanket—it falls at the rocks less than his naked ft (off-screen)—and pulls up the whistle that he consistently wears placing from his belt. CARL starts off blowing the whistle. As he blows, he seems wildly backward and forward to work out if an individual is coming. it's all in some way inept; one lengthy blow of the whistle turns out to exhaust him, and he pauses for a number of seconds ahead of blowing back, with out taking the whistle from his mouth, in order that among the loud, shrill sounds there's a faint, asthmatic whistling sound (CARL’S tortured breathing). Very broad shot, excessive attitude (from CARL’S element of view), of the ocean slightly below. LENA’S physique is floating face down within the shallow water close to the rocks. Sound of CARL blowing his whistle for the size of the shot (at least twelve seconds). again to earlier low-angle shot of CARL. He blows once again on his whistle, with much less conviction this time, then we could it fall out of his mouth and dangle back alongside his thigh.

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