minimalist screenplay, and Harriet Andersson's performance. Variety staff described Through a Glass Darkly as "Not a pleasant film, it is a great one". Times review praised it as "one of the best and certainly the ripest of Ingmar Bergman's creations". In The New York Times, Bosley Crowther called the film "tightly constructed and starkly realistic," and Andersson "beautifully expressive of the haunting awareness, the agony of madness, that move the girl". U.S. critic Brendan Gill called Andersson "well-nigh perfect". U.K. critic Tom Milne wrote that despite a concept suggesting "angst and self-torture," the film is "warm and highly controlled," and Andersson is brilliant. The New Republic critic Stanley Kauffmann, calling it "a Strindbergian study in mental torment," wrote its scenes were "gripping" and Andersson is "stark, beleaguered, volatile". The film ranked 8th on Cahiers du Cinéma's Top 10 Films of the Year List in 1962. In 1996, Through a Glass Darkly was included in Movieline Magazine's "100 Greatest Foreign Films". Much of the criticism focused on the ending, where the characters appear overly calm despite losing Karin, and God is simply equated with love. In 2008, Roger Ebert added the film to his Great Movies list, impressed by Nykvist's lighting and concluding "we're struck by Bergman's deep concern that humans see the world as through a glass, darkly, and are unable to perceive its meaning". In his 2014 Movie Guide, Leonard Maltin gave the film three and a half stars, describing it as a "Moody, evocative story of insanity". The film has a 100% rating on Rotten Tomatoes, based on 27 reviews, with a weighted average of 8.70/10. Awards and honors The film won the 1962 Academy Award for Best Foreign Language Film, marking the second year in a row Bergman had won the award, after The Virgin Spring in 1961. Harriet Andersson attended the ceremony to accept the Academy Award on Bergman's behalf. The film was also in competition for the Golden Bear at the 12th Berlin International Film Festival. Legacy Through a Glass Darkly is sometimes considered the first film in a trilogy that includes Winter Light and The Silence, and focuses on spiritual issues. Bergman writes, "These three films deal with reduction. Through a Glass Darkly – conquered certainty. Winter Light – penetrated certainty. The Silence – God's silence – the negative imprint. Therefore, they constitute a trilogy". He later retracted his claim the films form a