The romantic idea of the artist and the silence of God - in Autumn Sonata

Adding a note to previous post on Bergman's 1978 film, one of his last, Autumn Sonata: Watched the Criterion "commentary" version and made several observations. First, after the long night of drinking and confession and gut-spilling, culminating in Eva (Ullmann)'s charge that her mother, Charlotte (Ingrid Bergman) caused the illness of her daughter Lena through her abandonment and neglect, yes, we see Charolotte as a narcissist and a monster - she's so cold to Eva and indifferent to Lena, so wrapped up in her own world - as noted in the haunting he final scenes with her riding off on a train with her English manager, she'd much rather be there, talking business, than with her daughters - but there's a sense in which Bergman (Ingmar) is actually on her side: Yes she's a horrible parent and an unfaithful spouse (like the two Bergmans?) but she gives all for her art. The scene in which she plays the Chopin prelude, showing Eva how it's done and totally showing her up, says it all: the art is brilliant, and the artist steps over everyone, even (especially?) her daughter to get there. Eva is the more sympathetic character by far - and Bergman emphasizes the sympathy for her - just as Ingrid B is playing part of her life in this role, so is L Ullmann, w/ her then preteen daughter silently portraying the young Eva in a # of flashbacks, emphasizing on the literal level the bond she - unlike Ingrid B - feels w/ her daughter) - but Eva is also rather dull and bland, only opening up after a night of drinking, and then closing everything down again with a cringing letter of apology to her mothers. It's as if Bergman is saying: that's the wrong path, the wrong decision, at least if you have talent and genius. It's the romantic idea of the artist for sure, but it's an idea he lived: suffer, and give up everything else, for your art. On re-viewing the film, other haunting moments emerge, esp Lena's calling out for her mother at the end: Mama, come!, bleating it, while lying on the floor at the head of the stairs. And the silence and absence of Eva's minister husband - completely uninvolved in, even unaware of, the drama and struggle going on all around him - like God.