You must first accept that Ingmar Bergman's characters are involved, not just in moments of crisis, but in lives of the deepest crisis and pain, or the crushing burdens of his plots will simply seem absurd. The two women in Autumn Sonata …, are what we may now see as archetypal Bergman protagonists….
Some of Bergman's recent films on the theme of how much damage human beings in close contact, through blood and marriage, can do to each other in the name of love, have seemed unfairly grim: challenges to the spectator to suffer as much as to enjoy, and to pay for his increased understanding by a thorough harrowing. In form, they have often seemed, too, no different from a rather intense course of treatment from a mercifully free psychoanalyst. Autumn Sonata escapes this criticism chiefly by doing more to enact the relationship as well as talk about it…. (p. 492)
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