Max von Sydow,
Bergman’s first film in English (made for ABC Pictures) stars Bibi Andersson as a seemingly happy Swedish housewife who leaves her husband (Max von Sydow) for a visiting American archaeologist (Elliott Gould). Member of a family of concentration camp survivors, bohemian and prone to violent outbursts, the archaeologist possesses a rage far removed from the heroine’s bourgeois existence; their entire affair, in fact, seems designed to destroy, rather than create, security. Met with scathing reviews during its original release, The Touch remains a little-seen curio, but many critics found interest in Andersson’s brilliant performance and Bergman’s continuing investigation of religion and the nature of freedom.
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Ingmar Bergman's magic lantern: life as art in retrospect (program note), Hopkins Center of Dartmouth College, Ulrike Rainer, 1988
The films of Ingmar Bergman (program note), New School for Social Research (New York, N.Y.), Jim Monaco, 1973
The touch (review), Variety, Robert F. Hawkins, 1971
The affirmation of living pain (review), Village Voice, Molly Haskell, 1971
The touch (review), Monthly Film Bulletin, Jan Dawson, 1971
I live at the edge of a very strange country (article), Richard Meryman, 1971
The touch (distributor materials)
Cursed be my tribe : A second look at The Touch (article), James Paul Gay
Displaying 8 of 8 publicly available documents.
View all The Touch documentation on CineFiles.