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Ernst Ingmar Bergman (14 July 1918 – 30 July 2007) was a Swedish director, writer and producer for film, stage and television. His influential body of work dealt with bleakness and despair as well as comedy and hope. Described by Woody Allen as "probably the greatest film artist, all things considered, since the invention of the motion picture camera", he is recognized as one of the most accomplished and influential film directors of all time. However, despite critical acclaim, his films rarely earned large grosses or gained wide audiences. He directed over sixty films and documentaries for cinematic release and for television, most of which he also wrote, and directed over one hundred and seventy plays. Among his company of actors were Liv Ullmann, Bibi Andersson, Erland Josephson, Ingrid Thulin and Max von Sydow. Most of his films were set in the landscape of Sweden. His major subjects were death, illness, faith, betrayal, and insanity. Bergman was active for more than six decades. In 1976 his career was seriously threatened as the result of a botched criminal investigation for alleged income tax evasion. Outraged, Bergman suspended a number of pending productions, closed his studios, and went into self-imposed exile in Germany for eight years. Short Link:.

Ingmar bergman mst3k. Ernst Ingmar Bergman (14 July 1918 – 30 July 2007) was a Swedish director, regarded as one of the true greats in the history of film. Between writing, directing, and producing, he was nominated for thirteen Academy Awards, winning for Best Foreign Film three times: The Virgin Spring (1960, the inspiration for the American The Last House on the Left), Through a Glass Darkly (1961), and Fanny and Alexander (1983). Another of his famous films is The Seventh Seal, a Trope Codifier for Chess with Death. His films have a reputation for being gloomy and surrealistic. Although he generally tells identifiable "stories, " straightforward plot descriptions will rarely give any real indication of what his movies are "about": even criticism of his works tends to sound like psychobabble. Bergman himself even stated that he didn't so much care if the audience understood what he was going for, as long as they felt something. Despite being (rather unjustly) a poster child for True Art Is Incomprehensible, the list of filmmakers who regard him as being among the best directors ever is long, including Woody Allen, Stanley Kubrick, Martin Scorsese, Steven Spielberg, Ang Lee and Francis Ford Coppola. There's a reason forty of his films note  have been released in America by The Criterion Collection. However, it should be noted that in his lifetime Bergman's films were generally box-office successes, not only in Sweden and Europe, but also in America. His film Scenes from a Marriage was the most popular TV show of its age and according to legend was a cause for a spike in divorce rates after the film's release. Cries and Whispers was likewise released in America by none other than Roger Corman who managed to distribute it so well that it became a box-office success there. He was pretty much a household name in The '60s and The '70s across the world. Not to be confused with, nor any relation to another Swedish famous film persona, Ingrid Bergman (though he once directed her, in Autumn Sonata; people on set got them confused). Works by Ingmar Bergman with their own trope pages include: Torment (1944) (screenplay) Summer with Monika (1953) Sawdust and Tinsel (1953) Smiles of a Summer Night (1955) The Seventh Seal (1957) Wild Strawberries (1957) Brink of Life (1958) The Virgin Spring (1960) Through a Glass Darkly (1961) Winter Light (1963) Tystnaden (The Silence) (1963) Persona (1966) Hour of the Wolf (1968) Skammen (The Shame) (1968) En Passion (The Passion of Anna) (1969) Cries and Whispers (1972) Scenes from a Marriage (1973) Face to Face (1976) Autumn Sonata (1978) From the Life of the Marionettes (1981) Fanny and Alexander (1982) The Best Intentions (1992) (screenplay) Tropes: Anti-Hero: In almost all of his films, the heroes possess glaring personal flaws, either having to do with the way they treat others, the way they look at the world or their inability to see the ramifications of their actions. Cerebus Syndrome: In a lot of his film things start relatively optimistically but always shift for the worse. And worse. And even worse. Hour of the Wolf, Skammen, En Passion, Cries and Whispers, Face to Face, Autumn Sonata, Fanny and Alexander are all examples. In the beginning of each of the films listed the situation appears somewhat regular. But it rapidly deteriorates. Crapsack World: Bergman's work is associated with drama about life and death. Skammen was especially notable for being set in an unnamed war torn nation showing what war does to people and human relations. Crisis of Faith: He made an entire trilogy about "the Silence of God" and it crops up in a lot of his movies. He was raised in a family of Lutheran priests and had a difficult relationship with his father. He eventually did become an agnostic and in his view the movie The Silence was the point where he stopped asking everyone Have You Seen My God? and religion, while still a part in his films, stopped being as prominent in his later films. Deliberately Monochrome: Black-and-white is used to great effect in his work. He came to colour film later than other European film-makers and only used it sporadically, making exclusively colour films only in The '70s and The '80s. Devil in Disguise: In Fanny and Alexander and The Devils Eye, a rigid religious morality and those people who embody it are shown to destroy a true impulse for goodness in people. Dramedy: Although he is best known for his existential dramas, Bergman is surprisingly good at getting laughs, even making some outright comedies. Even his most dour pictures, like The Seventh Seal have some laugh-out-loud moments. The Grim Reaper: Death is prominent subject in his work. To the point that the Grim Reaper is actually a character in The Seventh Seal. Le Film Artistique: His pop culture reputation is as the ultimate example of this trope. People are often surprised to find that his films, while dealing with weighty themes, can actually be quite accessible, since he usually wrapped them around easily-understandable premises and plots, and included some humor as well. Magic Realism: Many of his films contain supernatural elements to varying degrees. Money, Dear Boy: Money is why he did nine commercials for the soap brand Bris in 1951 (he still cared enough that they came out rather artsy). It was necessary because the Swedish film industry was on strike at the time to protest the high taxes applied to it. One was also his first work with Bibi Andersson. "The primary reason I wanted to make the commercials was that I was given free rein with money and I could do exactly what I wanted with the product's message. Anyhow, I have always found it difficult to feel resentment when industry comes rushing toward culture, check in hand. " Not So Stoic: Almost every film features a very stoic person breaks down in every possible way – existentially, mentally, physically, sexually. Old Shame: He really disliked most of the films he made at the start of his career, but considered his absolute nadir to be This Can't Happen Here, an Anvilicious spy thriller that he made on demand. It's never seen a home video release and is very rarely shown at film festivals. Production Posse: One of his usual collaborators was cinematographer Sven Nykvist. Before him there was the less-known Gunnar Fischer, who worked with Bergman up until 1960's The Devil's Eye; others included The Seventh Seal, Wild Strawberries and The Magician. Also quite a few actors, among them Liv Ullmann, Erland Josephson, Harriet Andersson, Bibi Andersson, Max von Sydow, Ingrid Thulin, Gunnar Björnstrand and Gunnel Lindblom. Sequel Gap: A whole thirty years between Scenes From a Marriage (1973) and Saraband (2003). The gap is a major Plot Point in Saraband. Show Within a Show: Quite a few of his movies feature in-story films or plays, often with generous helpings of Stylistic Suck. Theme Naming: Bergman often used the same names for characters with particular traits, almost to the point of Hogwarts houses. For instance, artists with connection to great truths tend to be named Vogler ( The Magician, Hour of the Wolf, Persona (1966)), authoritarians and villains Vergerus ( The Magician, The Serpent's Egg, Fanny and Alexander), Rosenbergs are tormented failures ( Skammen, The Serpent's Egg), Jacobis practical and secretive ( Face to Face, Fanny and Alexander) and Egermans are unhappily married ( Smiles of a Summer Night, The Magician, Scenes from a Marriage). References in Popular Culture:.

Ingmar bergmann. Ingmar bergman quotes. Users Start Rating! Sign in Register Now Playing US - New Releases US - Coming Soon UK - New Releases UK - Upc. Releases France - New Releases Netflix Netflix (coming soon) HBO Amazon Disney+ Apple TV+ See More Box Office Trailers Latest Trailers What Critics Say Films by Keyword Sagas & Franchises TV Series Popular TV Shows Top TV Series Rate TV Series TOPs Top Filmaffinity Top of the Tops Top New Releases Top of the Lists Awards & Festivals Awards & Festivals All Oscars Best of 2019 About Filmaffinity About FA Contact Us copy to clipboard Filter Title 8 Director 63 Cast 16 2007 The Ghost Sonata (TV) -- Ingmar Bergman Jan Malmsjö, Jonas Malmsjö, Elin Klinga, Gunnel Lindblom, Erland Josephson, Örjan Ramberg,... 2003 Saraband (TV) 7. 6 5, 252 Liv Ullmann, Erland Josephson, Börje Ahlstedt, Julia Dufvenius 2000 The Image Makers (TV) 6. 6 191 Anita Björk, Carl Magnus Dellow, Lennart Hjulström, Elin Klinga, Henry 'Nypan' Nyberg 1997 In the Presence of a Clown (TV) 7. 1 476 Börje Ahlstedt, Marie Richardson, Erland Josephson, Peter Stormare, Agneta Ekmanner, Karin Bergman 1995 The Last Gasp (TV) Ingvar Kjellson, Björn Granath, Anna von Rosen 1992 Madame de Sade (TV) 6. 5 51 Stina Ekblad, Anita Björk, Marie Richardson, Margareta Byström, Agneta Ekmanner, Helena Brodin 1986 The Blessed Ones (TV) 6. 4 87 Kristina Adolphson, Harriet Andersson, Lars-Owe Carlberg, Irma Christenson, Majlis Granlund, Björn Gustafson,... 1984 After the Rehearsal (TV) 7. 0 587 Erland Josephson, Ingrid Thulin, Lena Olin, Nadja Palmstjerna-Weiss, Bertil Guve Karin's Face (S) 6. 1 285 Documentary, Karin Bergman The Making of Fanny and Alexander 7. 2 128 Documentary, Ingmar Bergman, Gunnar Björnstrand, Erland Josephson, Allan Edwall, Ewa Fröling,... 1983 Fanny and Alexander (TV Miniseries) 8. 4 336 Bertil Guve, Pernilla Allwin, Gunn Wållgren, Ewa Fröling, Jarl Kulle, Erland Josephson,... Hustruskolan (TV) Allan Edwall, Lena Nyman, Björn Gustafson, Ulla Sjöblom, Stellan Skarsgård, Lasse Pöysti,... 1982 Fanny & Alexander 7. 9 16, 274 1980 From the Life of the Marionettes (TV) 2, 280 Robert Atzorn, Martin Benrath, Rita Russek, Christine Buchegger, Lola Müthel, Heinz Bennent,... 1979 Faro Document 1979 (TV) 39 Documentary, Annelie Nyström 1978 Autumn Sonata 8. 0 6, 076 Ingrid Bergman, Liv Ullmann, Lena Nyman, Halvar Björk, Marianne Aminoff, Arne Bang-Hansen,... 1977 The Serpent's Egg 2, 082 David Carradine, Liv Ullmann, Gert Fröbe, Heinz Bennent, James Whitmore, Glynn Turman,... 1976 Face to Face 7. 4 1, 409 Liv Ullmann, Erland Josephson, Aino Taube, Gunnar Björnstrand, Kristina Adolphson, Marianne Aminoff,... The Condemned Women Dance Helene Friberg, Nina Harte, Lena Wennergren, Lisbeth Zachrisson 1975 The Magic Flute (TV) 924 Josef Kostlinger, Irma Urrila, Hakan Hagegard, Elisabeth Erikson, Jane Darling 1974 Scenes from a Marriage 8. 2 5, 220 Liv Ullmann, Erland Josephson, Bibi Andersson, Jan Malmsjö, Anita Wall, Gunnel Lindblom The Misanthrope (TV) Hanne Borchsenius, Benny Hansen, Holger Juul Hansen, Paul Hüttel, Henning Moritzen, Erik Mørk,... 1973 Scenes from a Marriage (TV Miniseries) 8. 3 333 1972 Cries and Whispers 7. 8 8, 232 Harriet Andersson, Kari Sylwan, Ingrid Thulin, Liv Ullmann, Anders Ek, Inga Gill,... 1971 The Touch 487 Bibi Andersson, Elliott Gould, Max von Sydow, Elsa Ebbesen, Sheila Reid, Staffan Hallerstam 1970 Faro Document (TV) 27 Documentary, Ingmar Bergman, Per Broman, Annelie Nyström, Richard Ostman, Linn Ullmann 1969 A Passion (The Passion of Anna) 2, 017 Max von Sydow, Liv Ullmann, Bibi Andersson, Erland Josephson, Britta Brunius, Sigge Fürst,... The Rite (TV) 894 Ingrid Thulin, Gunnar Björnstrand, Anders Ek, Erik Hell, Ingmar Bergman 1968 Hour of the Wolf 5, 248 Max von Sydow, Liv Ullmann, Erland Josephson, Gertrud Fridh, Ingrid Thulin, Gudrun Brost,... Shame 2, 695 Liv Ullmann, Max von Sydow, Sigge Fürst, Gunnar Björnstrand, Birgitta Valberg, Hans Alfredson,... 1967 Stimulantia 6. 3 70 Hans Abramson, Hans Alfredson, Arne Arnbom,... Hans Abramson, Hans Alfredson, Harriet Andersson, Daniel Bergman, Ingrid Bergman, Gunnar Björnstrand,... 1966 Persona 21, 450 Liv Ullmann, Bibi Andersson, Margaretha Krook, Gunnar Björnstrand, Jörgen Lindström 1964 All These Women 5. 9 580 Bibi Andersson, Harriet Andersson, Eva Dahlbeck, Karin Kavli, Gertrud Fridh, Mona Malm,... 1963 Winter Light 3, 835 Ingrid Thulin, Max von Sydow, Gunnar Björnstrand, Gunnel Lindblom, Allan Edwall, Kölbjorn Knudsen,... The Silence 3, 630 Ingrid Thulin, Gunnel Lindblom, Jörgen Lindström, Haakan Jahnberg, Leif Forstenberg, Birger Malmsten A Dream Play (TV) Ingrid Thulin, Uno Henning, Allan Edwall, Olof Widgren, John Elfström, Maude Adelson,... 1961 Through a Glass Darkly 3, 771 Harriet Andersson, Gunnar Björnstrand, Max von Sydow, Lars Passgard 1960 The Virgin Spring 7, 970 Max von Sydow, Birgitta Valberg, Gunnel Lindblom, Birgitta Pettersson, Axel Düberg, Allan Edwall,... The Devil's Eye 856 Jarl Kulle, Bibi Andersson, Nils Poppe, Gunnar Björnstrand, Georg Funkquist, Stig Järrel,... Storm Weather (TV) Uno Henning, Ingvar Kjellson, Gunnel Broström, Mona Malm, John Elfström, Birgitta Grönwald,... 1958 The Magician 2, 300 Max von Sydow, Ingrid Thulin, Gunnar Björnstrand, Åke Fridell, Naima Wifstrand, Bibi Andersson,... Brink of Life 598 Eva Dahlbeck, Ingrid Thulin, Bibi Andersson, Barbro Hiort af Ornäs, Erland Josephson, Max von Sydow,... The Venetian (TV) Folke Sundquist, Eva Stiberg, Maud Hansson, Gunnel Lindblom, Helena Reuterblad, Sture Lagerwall Rabies (TV) Ake Fridell, Bibi Andersson, Gunnel Lindblom, Axel Düberg, Tor Isedal, Max von Sydow,... 1957 The Seventh Seal 31, 461 Max von Sydow, Gunnar Björnstrand, Nils Poppe, Bibi Andersson, Bengt Ekerot, Gunnel Lindblom,... Wild Strawberries 8. 1 19, 473 Victor Sjöström, Bibi Andersson, Ingrid Thulin, Gunnar Björnstrand, Folke Sundquist, Björn Bjelvenstam,... Mr. Sleeman Is Coming (TV) Naima Wifstrand, Jullan Kindahl, Max von Sydow, Yngve Nordwall, Bibi Andersson 1955 Smiles of a Summer Night 2, 297 Eva Dahlbeck, Ulla Jacobsson, Harriet Andersson, Margit Carlqvist, Gunnar Björnstrand, Jarl Kulle,... Dreams 6. 8 743 Eva Dahlbeck, Harriet Andersson, Gunnar Björnstrand, Ulf Palme, Inga Landgré, Sven Lindberg,... 1954 A Lesson in Love 6. 9 454 Eva Dahlbeck, Gunnar Björnstrand, Yvonne Lombard, Harriet Andersson, Åke Grönberg, Olof Winnerstrand,... Next >>

Average rating 4. 08 · 2, 226 ratings 164 reviews | Start your review of The Magic Lantern Laterna Magica = The Magic Lantern: an autobiography of Ingmar Bergman, Ingmar Bergman Ingmar Bergman (July 14, 1918, Uppsala, Sweden, July 30, 2007, Fårö, Sweden) creator of such films as Wild Strawberries, Scenes from a Marriage and Fanny and Alexander turns his perceptive filmmaker's eye on himself for a revealing portrait of his life and obsessions. فانوس خیال: زندگینامه اینگمار برگمان؛ تاریخ نخستین خوانش: روز هفدهم ماه نوامبر سال 1992 میلادی عنوان: فانوس خیال: زندگینامه اینگمار برگمان به قلم.. Laterna Magica shows how difficult it is to define that odd word, "autobiography". Bergman isn't very interested in telling you what happened, though you absolutely don't get the feeling that he's trying to hide anything from you either. He isn't interested in defending himself from the numerous charges that have been filed against him (sex addict, irresponsible father, tax evader, etc). What he wants to do is show you how he experienced his life from the inside, and turned that raw material.. A wonderful book of memories (more self-analysis than an autobiography, nothing is chronological, but everything has a logic and everything is reflected.. ). Ingmar Bergman has never been able to speak to his mother. In the last chapter, listening to Bach's Christmas oratorio (the chorale moved confidently into the increasingly dark space: Bach's piety soothes the pain inflicted on us by our ungodliness. ) in a church inspires him a final imaginary encounter with his mother, who had died a long.. vote·harvesting (vōt·′här·və·stiŋ) v. 1. writing brief, generally worthless Goodreads reviews, usually of one's back-catalogue, in order to increase one's (net) vote yield; 2. producing many (usually short, irrelevant) reviews with little regard for quality. n. the act of vote·harvesting. See also vote harvest; e. g., He can expect to see a large cumulative vote harvest from his one-sentence reviews of all those Little Golden Books. Although my specific recollections of this book are as spotty.. If you're into stuff like this, you can read the full review. Libidinal Art-Form: "The Magic Lantern" by Ingmar Bergman, Joan Tate (Trans. ) (Original Review, 2007) Bergman devotes a number of pages to his experience as a 16 year old schoolboy on an exchange visit to a German family who were all ardent Nazis. He recalls attending a rally in Weimar, at which Hitler delivered a short speech, and being entirely caught up in “the eruption of immense energy”. When he left to return to Sweden the family.. Ingmar Bergman’s autobiography, The Magic Lantern, may not be the “best” book that I read this year (that word carries so much weight with it), but is quite probably my favorite book of the year. It has everything one often hopes for when reading an autobiography. In it Bergman not only provides readers with a discussion of his life and work, but he also is incredibly open – removing the curtain that typically separates the front and back stage, the work is very well-written and it is very easy.. Ah yes, the old myth of the tortured male genius and all that. And an autobiography containing everything from stories on how his dad used to beat him, about discovering masturbation and girls (in roughly that order), multiple marriages and families sacrificed to his "demons" and the drive to create ART, the torment from which great ideas are born, "truthlessness" as an excuse for rambling on at length... So sue me. Bergman was a genius film maker, and what I love about his autobiography is that.. I have no recollection of the moment I started watching and liking (that came in time, though) Bergman, since none of my friends and acquaintances had any taste in his films whatsoever. There must have been different listopias with his films, like '100 films to watch in a lifetime' or stuff like that. Anyway, what struck me in Bergman’s several films I’ve seen so far ('Persona' being by far my favorite) was the deep sense of simplicity, the austere and grave atmosphere. Most of them being B/W,.. I don't know if I was upset at myself or Bergman for being so disappointed with this memoir. I expected to read more about his actual artistic output, a la Tarkovsky's Sculpting in Time. What's most infuriating I realise now after having finished the book: he wants to seem very honest and open in his writing, making reference to this childhood ordeal or that crumbling personal relationship, but I perceive no such openness as a reader, only an attempt at it. It could be the translation. Then.. I began reading this book some twenty years ago but had to give up because it was too brutal in its honesty. Luckily, I had followed Doris Lessing's advice that one should collect a private library so that when one suddenly has an urge to read a book one only needs to walk to the bookshelf and get the book. Another Lessing advice that the same book can be totally different experience when returning to it years later was proven right as well because this time around I really enjoyed the book. The.. I got this book to try and glean some insight into the workings of the mind of the Swedish genius of cinema Ingmar Bergman. i have to say that if you are hoping for a look into the creation of his films, I think "Images", another autobiographical book, is the book for you. This book focusses more on Bergman's personal life, his physical and mental health, his relationships and, with a remarkable and sometimes shocking candidness, his childhood. Given this, the structure of the book is as.. Original title is "Laterna magica" is the history of a little boy who needed love. His mother had consulted a pediatrist. He had forbiden her to have affection gesture to his son. This is the history of an unhappy loveless little boy which discovers joy with a toy, a magic lantern. He search happiness all his life. He met many women, he had many children. He had never find peace. He will deliver his anguishes in all his movies. I saw all of them. I prefer Monika, Persona, The Serpent's Egg, the.. Berman's movies are a passion for me, so I absolutely devoured this book - however, it does not contain that much insights into his methods. Hence the three stars. Reminded me of Fellini’s “Making a Film”, but this is more literature-, and less essay- like. Honest, usually dead honest. Sometimes uncomfortable, too, if you start making comparisons with your own experiences. And it’s easy, because many of Bergman’s childhood and youth recollections are universal in one way or the other. By the time I got to the end, which actually went back full circle to the very start of the director’s life, I felt that Bergman reached at least some degree of peace with.. Not an easy book to read. Not enjoyable either. I give three stars because it certainly is an interesting book and because Ingmar Bergman tells his story how it happened and was not trying to give a good picture on himself as a person - as is common nowadays. (He was a Hitler sympathizer at the age of 15 and probably until he understood - and agreed to admit - the bitter truth of the concentration camps when he was maybe 27. He neglected his children, his sister, his brother, his old parents,.. Memoir books are usually same. But this book is different. Because Ingmar Bergman doesn’t tell all of his memoirs with his huge ego. Certainly, he had got an ego. Like everyone else. However, Bergman’s difference is that he knew himself very well with his negative and positive characteristics. In my opinion, that’s the real wisdom (I feel the same thing for Andrei Tarkovsky. Also, Bergman says “Tarkovsky is the biggest of cinema directors” in this book). What’s more, he explains his life, his.. Reads like a Bergman film: pretentious, probably overlong, and with surprising mentions of bodily functions. But none of that is really a complaint. The stream of consciousness narration makes way more sense for an autobiography than had even occurred to me, and he really did have a beautiful handle on language (props to the translator). "Film has dream, film has music. No form of art goes beyond ordinary consciousness as film does, straight to our emotions, deep into the twilight room of the soul. A little twitch in our optic nerve, a shock effect: twenty-four illuminated frames in a second, darkness in between, the optic nerve incapable of registering darkness. At the editing table, when I run the trip of film through, frame by frame, I still feel that dizzy sense of magic of my childhood: in the darkness of the wardrobe, I.. The first hundred pages or so, largely covering Bergman's childhood, are extremely interesting. The remaining 200 or so pages, unfortunately, were largely boring accounts of theatre productions. It should come as no surprise to anybody familiar with Bergman's films that he is a rather selfish, pompous, opinionated, and generally unpleasant individual (he readily admits as much throughout the autobiography). I wouldn't discourage a fan of his work from reading this, but would not generally.. By no means this should be the only work to dig into if you are interested in the great man, but the autobiography is very good and very interesting. It is also one of the handful of books I've read both in my native Swedish and translated and therefore I can say that the translation unfortunately is a bit lacking. Not disturbingly so though, I believe at least, for someone not making the comparison. Pretty engaging reminiscences from one of the greatest directors in film history—though he kinda phoned-in the last 60 pages. Ever wondered what physical ailments the great Ingmar Bergman suffered from? Insomnia and IBS. And now you know. I quit around p. 150. Very tough read. It just wasn't engaging. I'm usually fine to push through books, but I have other books sitting in my to-read pile that drew me away. Maybe I'll finish it some other day. The first chapter is a tour-de-force! Bergman knows when to intimate and when to invent. A fascinating read. Bergman has got some demons that's for sure, and is totally open about them. This book feels more like psycho-therapy than a manual for film directors but pours a bunch of insight into how and why Bergman makes art like he does. Some amazing stories about his relationship with Ingrid Bergman on 'Autumn Sonata' and his illnesses that he had to deal with throughout his professional career (One great story about the Eiffel tower and his bowel syndrome in there). I was really glued to this book and.. Fascinating insight into the mind of a touchstone director. Unsurprisingly, he talks more about theater than filmmaking, as he was doing theater before and after films. Kind of pathetic the way he couldn't really tolerate doing much of anything outside of his home country, but I guess that's part and parcel of his work. Even more pathetic was his attitude towards his five wives and additional partners, dropping a wife for his latest young starlet with no compunction. I watched an interview on.. This book is a masterpiece, just as most of his films are! It feels as the writing of this book had a therapeutic value for the author. He reveals a lot of the "shadow" part of his personality and you realize that without this kind of honesty, without this open inner struggle with the demons, there would have never been created such a powerful body of work as his. I would recommend this not only to film lovers but also to truth seekers as it will inspire you to use your creativity, so you can.. Ehhh... It's a good piece of writing, but as someone who wanted to learn more about how the man worked, it left a lot to be desired. It's basically 25 or so random memories told out of order. Interesting, but not much of a biography. Should've just been called "Random Memories by Ingmar Bergman". The "Autobiography" part could've been left out. Anyway, he has another book about his life in film specifically, so I'll read that one next and hope for more of what I was looking for. Very self-centred and a bit messy but quite honest as well. Bergman maybe did see himself as a genius that no one understood and should be pitied. Not sure that I share that view though. He did have interesting life but I’m not impressed with his writing and I really do not like how he shallowly covered description of some women he had relationship with. A pig kind of. By no means a paint by number autobiography. A wonderful insight into the life and musings of one of the most accomplished filmmakers of the 20th century. In addition to covering Bergmans’s work in film and theatre, Bergman writes at length about his childhood and many failed relationships. I really wanted to like this book but somehow I couldn't. The kind of honesty I expect out of an autobiography is unusually high, now that I have read A Life by Elia Kazan. Bergman might be a great filmmaker but this book did no justice to his name.

Kristina Adolphson, Bertil Guve, and Pernilla Allwin in Ingmar Bergman’s Fanny and Alexander (1982) (courtesy Janus Films) Ingmar Bergman made a lot of films, 48 of which are included in Film Forum’s centennial retrospective, which begins today. The Swedish director’s bleak worldview, marred by questions of moral erosion and spiritual crisis, was popular among the metropolitan art-house crowds of the 1960s and ’70s, when he was at the height of his influence. Ingmar Bergman (courtesy Film Forum) Bergman, who died in 2007, was nominated for nine Oscars over his lifetime — though the Academy only ever gave him one prize, a memorial award in 1971. His stature has fallen somewhat since then, although not enough credit is given for his frequent experimentation with the episodic television format, which he explored during the final decades of his life along with a reinvigorated interest in the theater. Watching the films I had never seen (and rewatching a few favorites) over the last three weeks was often frustrating and only sometimes revelatory; some of the canonized work does not hold up, while whole periods of his career I had written off were suddenly more interesting. His comedies can often feel like he is discovering the concept for the first time, and he has a tendency to repeat himself. But even when they are at their worst, all 48* of the films here are worth seeing. 1. Fanny and Alexander (1982), 312-minute television version in 5 parts 2. Persona (1966) 3. Shame (1968) 4. The Silence (1963) 5. Scenes From a Marriage (1973), 168-minute theatrical cut 6. Dreams (1955) 7. Summer with Monika (1953) 8. Hour of the Wolf (1968) 9. Thirst (1949) 10. Wild Strawberries (1957) 11. Through a Glass Darkly (1961) Harriet Andersson and Lars Passgård in Ingmar Bergman’s Through a Glass Darkly (1961) (courtesy Janus Films) 12. The Fårö-document 1979  (1979) 13. The Touch (1971) 14. Frenzy (1944), written by Bergman, directed by Alf Sjöberg 15. Winter Light (1963) 16. Music in the Dark  (1948) 17. To Joy (1950) 18. The Rite (1969) 19. Port of Call (1948) 20. From the Life of the Marionettes (1980) 21. After the Rehearsal (1984) 22. The Fårö Document (1970) 23. Summer Interlude (1950) Maj-Britt Nilsson and Birger Malmsten in Ingmar Bergman’s Summer Interlude (1951) (courtesy Film Forum) 24. Autumn Sonata (1978) 25. Crisis (1945) 26. Face to Face (1976) 27. The Seventh Seal (1957) 28. Private Confessions (1997), written by Bergman, directed by Liv Ullmann 29. Brink of Life (1958) 30. The Passion of Anna (1969) 31. Smiles of a Summer Night (1955) 32. Cries and Whispers (1972) 33. Prison (1949) 34. Saraband (2003) Erland Josephson and Liv Ullmann in Ingmar Bergman’s Saraband (2003) (courtesy Film Forum) 35. Secrets of Women (1952) 36. It Rains on Our Love (1946) 37. Karin’s Face (1984), short television film 38. The Magician (1958) 39. A Lesson in Love (1954) 40. Sawdust and Tinsel (1953) 41. A Ship to India (1947) 42. The Serpent’s Egg (1977) Liv Ullmann and David Carradine in Ingmar Bergman’s The Serpent’s Egg (1977) (courtesy Film Forum via Photofest) 43. Sunday’s Children (1992), written by Bergman, directed by his son Daniel Bergman 44. The Devil’s Eye (1960) 45. The Best Intentions (1992), written Bergman, directed by Bille August 46. The Magic Flute (1975) 47. The Virgin Spring (1960) 48. All These Women (1964) Harriet Andersson and Jarl Kulle in Ingmar Bergman’s All These Women (1964) (courtesy Film Forum) “ Ingmar Bergman: Centennial Retrospective ” continues at Film Forum (209 West Houston Street, West Village, Manhattan) through March 15. * The Blessed Ones (1986) and In the Presence of a Clown (1997), both made for television, along with a number of shorts, are not included in the Film Forum series and thus not ranked.

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https://hideuri.com/z1vmlv Ingmar bergman god. Ingmar bergman mgm. Ingmar bergman magic flute. Ingmar bergman silence. (2018) Full Movie… Watch Online Ingmar Bergman (2018) Stars Ingmar Bergman How Long Ingmar Bergman Free Watch. Ingmar bergman films. Ingmar Bergman dual audio. Ingmar bergman. Ingmar berman. Ingmar bergman rym. Ingmar berkman center. Ingmar bergman movies list. It's perfect for people who want to know more about him. Gute Informationen Es werden Erinnerungen wachgehalten Ich freue mich sehr über Fotos der interessan... ten Schauspieler*innen Bitte mehr Berichte und Dokumentationen See More There's no Nykvist without Bergman; and no Bergman without Nykvist. Two brothers in Art and a specia... l sensibility for the light. I worked on Nykvist's work for years and I never see the end of this work. It's a benediction that there's a Foundation like this. See More.

Ingmar berkman center for internet. Ingmar bergman summer with monika. Ingmar bergman best movies. Ingmar bergman the seventh seal. Bergman, Elliott Gould (David Kovac), Bibi Andersson (Karin Vergues), Sven Nykvist and Max von Sydow (Andreas Vergeus) on the set of The Touch. Photo: Bo-Erik Gyberg © AB Svensk Filmindustri Witness Bergman's  lifework in a diagram format, explore his  universe  and particular  places  from his life, meet some of the thousands of people who worked by his side, and read a 3-minute introduction to the world-renowned director. A work you may have missed, new versions, a unique object from the Ingmar Bergman Archives and news from the world of Bergman. Happy Holidays Merry Christmas and a Happy New Year from us at the Ingmar Bergman Foundation – see you next year! Films on Bergman Unreleased film material, Bergman monologues performed by actors from the Swedish Royal Theatre and anecdotes from film shoots. Latest about Bergman Sign up for the Ingmar Bergman Foundation newsletter for updated information about Ingmar Bergman, his art and the foundation.

Ingmar Bergman, the master filmmaker who found bleakness and despair as well as comedy and hope in his indelible explorations of the human condition, died yesterday at his home on the island of Faro, off the Baltic coast of Sweden. He was 89. His death was announced by the Ingmar Bergman Foundation. Mr. Bergman was widely considered one of the greatest directors in motion picture history. For much of the second half of the 20th century, he stood with directors like Federico Fellini and Akira Kurosawa at the pinnacle of serious filmmaking. He moved from the comic romp of lovers in “Smiles of a Summer Night” in 1955 to the Crusader’s death-haunted search for God in “The Seventh Seal” in 1957; from the harrowing portrayal of fatal illness in “Cries and Whispers” in 1972 to the alternately humorous and horrifying depiction of family life a decade later in “Fanny and Alexander. ” Mr. Bergman dealt with pain and torment, desire and religion, evil and love. In his films, “this world is a place where faith is tenuous; communication, elusive; and self-knowledge, illusory at best, ” Michiko Kakutani wrote in The New York Times Magazine in a 1983 profile of the director. God is either silent or malevolent; men and women are creatures and prisoners of their desires. For many filmgoers and critics, it was Mr. Bergman more than any other director who brought a new seriousness to filmmaking in the 1950s. “Bergman was the first to bring metaphysics — religion, death, existentialism — to the screen, ” Bertrand Tavernier, the French film director, said. “But the best of Bergman is the way he speaks of women, of the relationship between men and women. He’s like a miner digging in search of purity. ” Image Credit... Aftonbladet/World Picture Network He influenced many other filmmakers, including Woody Allen, who once called Mr. Bergman “probably the greatest film artist, all things considered, since the invention of the motion picture camera. Bergman made about 50 films over more than 40 years. He centered his work on two great themes — the relationship between the sexes and the relationship between mankind and God. Bergman found in film, he wrote in a 1965 essay, “a language that literally is spoken from soul to soul in expressions that, almost sensuously, escape the restrictive control of the intellect. ” In a Bergman film, the mind is constantly seeking, constantly inquiring, constantly puzzled. Bergman often acknowledged that his work was autobiographical, but only “in the way a dream transforms experience and emotions all the time. ” He carried out a simultaneous career in the theater, becoming a director of Stockholm’s Royal Dramatic Theater. He married multiple times and had highly publicized and passionate liaisons with his leading ladies. Bergman broke upon the international film scene in the mid-1950s with four films that became symbols of his career — “Smiles of a Summer Night, ” “The Seventh Seal, ” “Wild Strawberries” and “The Magician. ” He had been a director for 10 years but was little known outside Sweden. Then, in 1956, “Smiles” won a special prize at the Cannes International Film Festival. The next year, the haunting and eloquent “Seventh Seal, ” with its memorable medieval vision of a knight (Max von Sydow) playing chess with death in a world terrorized by the plague, won another special prize at Cannes. And in 1959, “The Magician” took the special jury prize at the Venice Film Festival. Audiences flocked to art cinemas all over the world to see his films. Then, in 1960, “The Virgin Spring” told of a rape and its mysterious aftermath in medieval Scandinavia; it won the Academy Award as best foreign film. In only a few years, he had become both a cult figure and a box-office success. Image Credit... Everett Collection A ‘Double Self’ Throughout his career, Mr. Bergman often talked about what he considered the dual nature of his creative and private personalities. “I am very much aware of my own double self, ” he once said. “The well-known one is very under control; everything is planned and very secure. The unknown one can be very unpleasant. I think this side is responsible for all the creative work — he is in touch with the child. He is not rational; he is impulsive and extremely emotional. ” Ernst Ingmar Bergman was born on July 14, 1918, in the university town of Uppsala, Sweden. His father, Erik, a Lutheran clergyman who later became chaplain to the Swedish royal family, believed in strict discipline, including caning and locking his children in closets. His mother, Karin, was moody and unpredictable. “I was very much in love with my mother, ” he said in an interview with The Times in 1995. “She was a very warm and a very cold woman. When she was warm, I tried to come close to her. But she could be very cold and rejecting. ” The young Ingmar Bergman accompanied his father on preaching rounds of small country churches near Stockholm. His earliest memories, he once said, were of light and death. “I remember how the sunlight hit the edge of my dish when I was eating spinach and, by moving the dish slightly from side to side, I was able to make different figures out of the light, ” he said. He added: “And I also remember being forced to sit in church, listening to a very boring sermon, but it was a very beautiful church, and I loved the music and the light streaming through the windows. I used to sit up in the loft beside the organ, and when there were funerals, I had this marvelous long-shot view of the proceedings, with the coffin and the black drapes, and then later at the graveyard, watching the coffin lowered into the ground. I was never frightened by these sights. I was fascinated. ” At the age of 9, he traded a set of tin soldiers for a battered magic lantern, a possession that altered the course of his life. Within a year, he had created, by playing with this toy, a private world in which he felt completely at home, he recalled. He fashioned his own scenery, marionettes and lighting effects and gave puppet productions of Strindberg plays in which he spoke all the parts. Agence France-Presse — Getty Images A Start in Theater He entered the University of Stockholm in 1937, nominally to study the history of literature but actually to spend most of his time working in amateur theater. He soon left home and university for a career in the theater and the movies. He split his time between film and theater beginning in the early 1940s, when he was first taken into the script department of Svensk Filmindustri. His first boss described him as “shabby, rude and scampish with a laugh born out of the darkest depths of the inferno. ” In his theater career, he became head of the municipal theater in the southern Swedish city of Halsingborg in 1944. In 1946, he switched to Goteborg for four years, then spent two years as a guest producer in a couple of cities before going to Malmo in 1952 to become associated with the municipal theater there. In films, he wrote as well as directed. His name first appeared on the screen in 1944 in “Torment, ” which he wrote and which Alf Sjoberg, a dominant figure in Swedish film, directed. The film, based on a story Mr. Bergman wrote about his final, torturous year at school, won eight Swedish awards as well as the Grand Prix du Cinéma at Cannes. It made an international star of its leading actress, Mai Zetterling, who portrayed a shopgirl loved by a young student and shadowed by the student’s sadistic teacher. Bergman got his first chance to direct the next year, 1945. His early films were basically soap operas that enabled him to experiment with directorial style. Most critics agree that his first film of note was “Prison, ” his sixth movie and the first all-Bergman production. It tells the story of a prostitute who committed suicide. He made it in 18 days, and while critics have called it cruel, disjointed and sophomoric, it was an early favorite of his. In the next few years, he made “Summer Interlude” (1951), a tragedy of teenage lovers; “Waiting Women” (1952), his first successful comedy; “Sawdust and Tinsel, ” set in a traveling circus and originally released in the United States as “The Naked Night”; “A Lesson in Love” (1954), a witty comedy of marital infidelity; and, finally, his breakthroughs, “Smiles of a Summer Night” and “The Seventh Seal. Agence France-Presse — Getty Images In 1957, the same year as “Seventh Seal, ” Mr. Bergman also directed “Wild Strawberries, ” his acclaimed study of old age. In the film, the 78-year-old Isak Borg (played by the silent-film director and actor Victor Sjostrom) drives through the countryside, stops at his childhood home, relives the memory of his first love and comes to terms with his emotional isolation. “I had created a figure who, on the outside, looked like my father but was me, through and through, ” Mr. Bergman said. “I was then 37, cut off from all human emotions. Bergman won his second Academy Award in 1962 for “Through a Glass Darkly, ” about a mentally ill woman who believes she is visited by God. Then came the turning point, “Winter Light, ” which he made in 1962, the second of his early-’60s trilogy, which ended with “The Silence. ” “Winter Light” portrayed the loneliness and vulnerability of modern man, without faith or love. Many of his earlier films had been animated by an anguished search for belief, but “Winter Light, ” which shows a minister’s own loss of faith, implies that whatever answers there are to be found on earth. Bergman said his philosophical shift had occurred during a brief hospital stay. Awakening from the anesthesia, he realized that he was no longer scared of death and that the question of death had suddenly disappeared. His films from then on, many critics have said, conveyed a kind of humanism in which love is the only hope of salvation. Some critics lashed out at his films as obscure, pretentious and meaningless. But every time he made a failure, he managed to win back reviewers and audiences quickly with films like “Persona, ” in which the personalities of two women break down and merge, and “Cries and Whispers, ” a stark portrait of three sisters. A Stable of Actors Mr. Bergman often used what amounted to a repertory company — a group of actors who appeared in many of his films. They included Mr. von Sydow, Gunnar Bjornstrand, Ingrid Thulin, Bibi Andersson, Erland Josephson and, above all, Liv Ullmann, with whom he had a long personal relationship and with whom he had a child. For many years he also used the same cinematographer, Sven Nykvist, who died last year. Bonniers Hylen/Agence France-Presse/Getty Images The ideas for his films came to him in many ways, he said. “Persona, ” the study of two women in neurotic intimacy, came to life one day when he saw two women sitting together comparing hands. “I thought to myself that one of them is mute and the other speaks, ” he said. The germ for “The Silence” — in which a dying woman and her sister are in a foreign country with no means of communication with the world around them — came from a hospital visit. “I noticed from a window a very old man, enormously fat and paralyzed, sitting in a chair under a tree in the park, ” he said. “As I watched, ” he continued, “four jolly, good-natured nurses came marching out, lifted him up, chair and all, and carried him back into the hospital. The image of being carried away like a dummy stayed in my mind. ” Other films were suggested by essays, novels or pieces of music. In every case, he said, some outside event had turned the key on some deep-seated memory: each film was a projection of some past experience. “I have maintained open channels with my childhood, ” he told Ms. Kakutani in 1983. “I think it may be that way with many artists. Sometimes in the night, when I am on the limit between sleeping and being awake, I can just go through a door into my childhood and everything is as it was — with lights, smells, sounds and people... I remember the silent street where my grandmother lived, the sudden aggressivity of the grown-up world, the terror of the unknown and the fear from the tension between my father and mother. Bergman used his memories in many other films, including “Scenes From a Marriage” (which was originally made for television), “Autumn Sonata, ” “From the Life of the Marionettes, ” “Hour of the Wolf, ” “Shame, ” “Face to Face” and his version of Mozart’s “Magic Flute, ” considered by many to be the most successful film of an opera ever made. From the 1950s until recent years, Mr. Bergman maintained his successful theatrical career in Sweden. It was while rehearsing Strindberg’s “Dance of Death” at the Royal Dramatic Theater in Stockholm in 1976 that he was charged with tax evasion. Swedish Television SVT The incident received a great deal of publicity, and while the charges were later dropped and the Swedish government issued a formal apology, Mr. Bergman exiled himself from Sweden to West Germany, where he made “The Serpent’s Egg. ” He had a nervous breakdown over the incident and was hospitalized for a time. He returned permanently to his native country only in the mid-1980s. In 1982, Mr. Bergman announced that he had just made his last theatrical film, “Fanny and Alexander, ” a look at high society in a Swedish town early in the 19th century that was in part inspired by his own childhood. “Making ‘Fanny and Alexander’ was such a joy that I thought that feeling will never come back, ” he told Ms. Kakutani. “I will try to explain: When I was at university many years ago, we were all in love with this extremely beautiful girl. She said no to all of us, and we didn’t understand. She had had a love affair with a prince from Egypt and, for her, everything after this love affair had to be a failure. So she rejected all our proposals. I would like to say the same thing. The time with ‘Fanny and Alexander’ was so wonderful that I decided it was time to stop. I have had my prince of Egypt. ” “Fanny and Alexander” won four Oscars, including the Academy Award for best foreign film in 1984. An Island Retreat But Mr. Bergman did not leave the world of film altogether. He spent much of his time on Faro, a sparsely populated island that visitors described as chilly and desolate but that he considered the one place he felt safe, secure and at home. He devoted his mornings to working on his plays, novels and television scripts. Bergman’s fifth wife, Ingrid Karlebo Bergman, died in 1995. He had many children from his marriages and relationships. He made a television film, “After the Rehearsal” — about three actors working on a production of Strindberg’s “Dream Play” — which was released theatrically in the United States. He wrote “The Best Intentions, ” first as a novel and then in 1991 as a six-hour film directed by Billie August about Mr. Bergman’s parents’ troubled marriage just before his birth. Bergman said in an interview in Sweden that the act of writing the film had changed his attitude toward his parents. “After this, ” he said, “every form of reproach, blame, bitterness or even vague feeling that they have messed up my life is gone forever from my mind. ” “The Best Intentions” was one of three novels he wrote in the ’80s and ’90s about his parents. The second, “Sunday’s Children, ” was made into a film and directed by his son Daniel. The third, “Private Confessions, ” about his mother, became a film directed by Ms. Ullmann. In 1997, he directed a made-for-television movie “In the Presence of Clowns” set in the 1920s and based on a story he discovered among the papers left by an uncle who appeared as a main character in “Fanny and Alexander” and “Best Intentions” and who was played in all three films by Borje Ahlstedt. Until recent years, he directed two plays every year at the Royal Dramatic Theater. In May 1995, the Brooklyn Academy of Music, as part of a New York Bergman Festival, which included retrospectives by the Film Society of Lincoln Center and the Museum of Television and Radio, presented the Royal Theater in two plays directed by Mr. Bergman: Shakespeare’s “Winter’s Tale” and Yukio Mishima’s “Madame de Sade. ” Over the years, he also came to BAM to direct productions of Eugene O’Neill’s “Long Day’s Journey Into Night” and two by Ibsen, “A Doll’s House” and “Ghosts. ” He also directed operas and wrote many plays and television dramas, several novels and a 1987 memoir, “The Magic Lantern. ” In the fall of 2002, Mr. Bergman, at age 84, started production on “Saraband, ” a television movie based on the two main characters in “Scenes From a Marriage. ” Released in 2003, it starred Ms. Ullmann as a woman who decides to visit her ex-husband after 30 years at his summer home. Many of his films could be said to reveal a preoccupation with death. But that concern had abated in later life, he said. “When I was young, I was extremely scared of dying, ” he once said. “But now I think it a very, very wise arrangement. It’s like a light that is extinguished. Not very much to make a fuss about. ”.

Ingmar bergman best films. Ingmar bergman biography. About Ingmar Bergman Born in July14, 1918 in Uppsala, Uppsala län, Sweden From Wikipedia, the free encyclopedia. Ernst Ingmar Bergman (14 July 1918 – 30 July 2007) was a Swedish director, writer and producer for film, stage and television. His influential body of work dealt with bleakness and despair as well as comedy and hope. Described by Woody Allen as "probably the greatest film artist, all things considered, since the invention of the motion picture camera", he is recognized as one of the most accomplished and influential film directors of all time. However, despite critical acclaim, his films rarely earned large grosses or gained wide audiences. He directed over sixty films and documentaries for cinematic release and for television, most of which he also wrote, and directed over one hundred and seventy plays. Among his company of actors were Liv Ullmann, Bibi Andersson, Erland Josephson, Ingrid Thulin and Max von Sydow. Most of his films were set in the landscape of Sweden. His major subjects were death, illness, faith, betrayal, and insanity. Bergman was active for more than six decades. In 1976 his career was seriously threatened as the result of a botched criminal investigation for alleged income tax evasion. Outraged, Bergman suspended a number of pending productions, closed his studios, and went into self-imposed exile in Germany for eight years. Description above from the Wikipedia article Ingmar Bergman, licensed under CC-BY-SA, full list of contributors on Wikipedia. ​ Microsoft may earn an Affiliate Commission if you purchase something through recommended links on this page.

Ingmar bergman filmer. Ingmar Bergman Bergman during production of Wild Strawberries (1957) Born Ernst Ingmar Bergman 14 July 1918 Uppsala, Sweden Died 30 July 2007 (aged 89) Fårö, Sweden Other names Buntel Eriksson Occupation Film director producer screenwriter Years active 1944–2005 Spouse(s) Else Fisher ( m.  1943; div.  1945) Ellen Lundström ( m.  1945; div.  1950) Gun Grut ( m.  1951; div.  1959) Käbi Laretei ( m.  1959; div.  1969) Ingrid von Rosen ( m.  1971; died 1995) Children 9; including: Linn Ullmann Eva Bergman Mats Bergman Anna Bergman Daniel Bergman Awards Goethe Prize Praemium Imperiale Academy Award BAFTA Fellowship Signature Ernst Ingmar Bergman [a]  (14 July 1918 – 30 July 2007) was a Swedish director, writer, and producer who worked in film, television, theatre and radio. Considered to be among the most accomplished and influential filmmakers of all time, [1] [2] [3] Bergman's films include Smiles of a Summer Night (1955), The Seventh Seal (1957), Wild Strawberries (1957), Persona (1966), Cries and Whispers (1972), Scenes from a Marriage (1973), and Fanny and Alexander (1982); the last two exist in extended television versions. Bergman directed over sixty films and documentaries for cinematic release and for television screenings, most of which he also wrote. He also directed over 170 plays. He eventually forged a creative partnership with his cinematographers Gunnar Fischer and Sven Nykvist. Among his company of actors were Harriet and Bibi Andersson, Liv Ullmann, Gunnar Björnstrand, Erland Josephson, Ingrid Thulin and Max von Sydow. Most of his films were set in Sweden, and many films from Through a Glass Darkly (1961) onward were filmed on the island of Fårö. Philip French referred to Bergman as "one of the greatest artists of the 20th century... he found in literature and the performing arts a way of both recreating and questioning the human condition. " [4] Director Martin Scorsese commented; "If you were alive in the 50s and the 60s and of a certain age, a teenager on your way to becoming an adult, and you wanted to make movies, I don't see how you couldn't be influenced by Bergman 's impossible to overestimate the effect that those films had on people. " [5] Biography [ edit] Early life [ edit] Ernst Ingmar Bergman was born on 14 July 1918 in Uppsala, Sweden, [6] the son of Erik Bergman, a Lutheran minister and later chaplain to the King of Sweden, and Karin ( née Åkerblom), a nurse who also had Walloon [7] ancestors. [8] He grew up with his older brother Dag and sister Margareta surrounded by religious imagery and discussion. His father was a conservative parish minister with strict ideas of parenting. Ingmar was locked up in dark closets for infractions such as wetting the bed. "While father preached away in the pulpit and the congregation prayed, sang, or listened", Ingmar wrote in his autobiography Laterna Magica, I devoted my interest to the church's mysterious world of low arches, thick walls, the smell of eternity, the coloured sunlight quivering above the strangest vegetation of medieval paintings and carved figures on ceilings and walls. There was everything that one's imagination could desire—angels, saints, dragons, prophets, devils, humans... Although raised in a devout Lutheran household, Bergman later stated that he lost his faith when aged eight, and only came to terms with this fact while making Winter Light in 1962. [9] His interest in theatre and film began early: "At the age of nine, he traded a set of tin soldiers for a magic lantern, a possession that altered the course of his life. Within a year, he had created, by playing with this toy, a private world in which he felt completely at home, he recalled. He fashioned his own scenery, marionettes, and lighting effects and gave puppet productions of Strindberg plays in which he spoke all the parts. " [10] [11] Bergman attended Palmgren's School as a teenager. His school years were unhappy, [12] and he remembered them unfavourably in later years. In a 1944 letter concerning the film Torment (sometimes known as Frenzy), which sparked debate on the condition of Swedish high schools (and which Bergman had written), [13] the school's principal Henning Håkanson wrote, among other things, that Bergman had been a "problem child". [14] Bergman wrote in a response that he had strongly disliked the emphasis on homework and testing in his formal schooling. In 1934, aged 16, he was sent to Germany to spend the summer holidays with family friends. He attended a Nazi rally in Weimar at which he saw Adolf Hitler. [15] He later wrote in Laterna Magica ( The Magic Lantern) about the visit to Germany, describing how the German family had put a portrait of Hitler on the wall by his bed, and that "for many years, I was on Hitler's side, delighted by his success and saddened by his defeats". [16] Bergman commented that "Hitler was unbelievably charismatic. He electrified the crowd.... The Nazism I had seen seemed fun and youthful". [17] Bergman did two five-month stretches in Sweden of mandatory military service. [18] Bergman enrolled at Stockholm University College (later renamed Stockholm University) in 1937, to study art and literature. He spent most of his time involved in student theatre and became a "genuine movie addict". [19] At the same time, a romantic involvement led to a physical confrontation with his father which resulted in a break in their relationship which lasted for many years. Although he did not graduate from the university, he wrote a number of plays and an opera, and became an assistant director at a local theatre. In 1942, he was given the opportunity to direct one of his own scripts, Caspar's Death. The play was seen by members of Svensk Filmindustri, which then offered Bergman a position working on scripts. He married Else Fisher in 1943. Film career until 1975 [ edit] Bergman's film career began in 1941 with his work rewriting scripts, but his first major accomplishment was in 1944 when he wrote the screenplay for Torment (a. k. a. Frenzy) ( Hets), a film directed by Alf Sjöberg. Along with writing the screenplay, he was also appointed assistant director of the film. In his second autobiographical book, Images: My Life in Film, Bergman describes the filming of the exteriors as his actual film directorial debut. [20] The film sparked debate on Swedish formal education. When Henning Håkanson (the principal of the high school Bergman had attended) wrote a letter following the film's release, Bergman, according to scholar Frank Gado, disparaged in a response what he viewed as Håkanson's implication that students "who did not fit some arbitrary prescription of worthiness deserved the system's cruel neglect". [13] Bergman also stated in the letter that he "hated school as a principle, as a system and as an institution. And as such I have definitely not wanted to criticize my own school, but all schools. " [21] [22] The international success of this film led to Bergman's first opportunity to direct a year later. During the next ten years he wrote and directed more than a dozen films, including Prison ( Fängelse) in 1949, as well as Sawdust and Tinsel ( Gycklarnas afton) and Summer with Monika ( Sommaren med Monika), both released in 1953. Bergman first achieved worldwide success with Smiles of a Summer Night ( Sommarnattens leende, 1955), which won for "Best poetic humour" and was nominated for the Palme d'Or at Cannes the following year. This was followed by The Seventh Seal ( Det sjunde inseglet) and Wild Strawberries ( Smultronstället), released in Sweden ten months apart in 1957. The Seventh Seal won a special jury prize and was nominated for the Palme d'Or at Cannes, and Wild Strawberries won numerous awards for Bergman and its star, Victor Sjöström. Bergman continued to be productive for the next two decades. From the early 1960s, he spent much of his life on the island of Fårö, where he made several films. In the early 1960s he directed three films that explored the theme of faith and doubt in God, Through a Glass Darkly ( Såsom i en Spegel, 1961), Winter Light ( Nattvardsgästerna, 1962), and The Silence ( Tystnaden, 1963). Critics created the notion that the common themes in these three films made them a trilogy or cinematic triptych. Bergman initially responded that he did not plan these three films as a trilogy and that he could not see any common motifs in them, but he later seemed to adopt the notion, with some equivocation. [23] [24] His parody of the films of Federico Fellini, All These Women ( För att inte tala om alla dessa kvinnor) was released in 1964. [25] Largely a two-hander with Bibi Andersson and Liv Ullmann, Persona (1966) is a film that Bergman himself considered one of his most important works. While the highly experimental film won few awards, it has been considered his masterpiece. Other films of the period include The Virgin Spring ( Jungfrukällan, 1960), Hour of the Wolf ( Vargtimmen, 1968), Shame ( Skammen, 1968) and The Passion of Anna ( En Passion, 1969). With his cinematographer Sven Nykvist, Bergman made use of a crimson color scheme for Cries and Whispers (1972), which received a nomination for the Academy Award for Best Picture. [26] He also produced extensively for Swedish television at this time. Two works of note were Scenes from a Marriage ( Scener ur ett äktenskap, 1973) and The Magic Flute ( Trollflöjten, 1975). Tax evasion charges in 1976 [ edit] On 30 January 1976, while rehearsing August Strindberg 's The Dance of Death at the Royal Dramatic Theatre in Stockholm, he was arrested by two plainclothes police officers and charged with income tax evasion. The impact of the event on Bergman was devastating. He suffered a nervous breakdown as a result of the humiliation, and was hospitalised in a state of deep depression. The investigation was focused on an alleged 1970 transaction of 500, 000 Swedish kronor (SEK) between Bergman's Swedish company Cinematograf and its Swiss subsidiary Persona, an entity that was mainly used for the paying of salaries to foreign actors. Bergman dissolved Persona in 1974 after having been notified by the Swedish Central Bank and subsequently reported the income. On 23 March 1976, the special prosecutor Anders Nordenadler dropped the charges against Bergman, saying that the alleged crime had no legal basis, saying it would be like bringing "charges against a person who has stolen his own car, thinking it was someone else's". [27] Director General Gösta Ekman, chief of the Swedish Internal Revenue Service, defended the failed investigation, saying that the investigation was dealing with important legal material and that Bergman was treated just like any other suspect. He expressed regret that Bergman had left the country, hoping that Bergman was a "stronger" person now when the investigation had shown that he had not done any wrong. [28] Although the charges were dropped, Bergman became disconsolate, fearing he would never again return to directing. Despite pleas by the Swedish prime minister Olof Palme, high public figures, and leaders of the film industry, he vowed never to work in Sweden again. He closed down his studio on the island of Fårö, suspended two announced film projects, and went into self-imposed exile in Munich, Germany. Harry Schein, director of the Swedish Film Institute, estimated the immediate damage as ten million SEK (kronor) and hundreds of jobs lost. [29] Aftermath following arrest [ edit] Bergman then briefly considered the possibility of working in America; his next film, The Serpent's Egg (1977) was a German-U. S. production and his second English-language film (the first being The Touch, 1971). This was followed by a British-Norwegian co-production, Autumn Sonata ( Höstsonaten, 1978) starring Ingrid Bergman (no relation), and From the Life of the Marionettes ( Aus dem Leben der Marionetten, 1980) which was a British-German co-production. He temporarily returned to his homeland to direct Fanny and Alexander ( Fanny och Alexander, 1982). Bergman stated that the film would be his last, and that afterwards he would focus on directing theatre. After that he wrote several film scripts and directed a number of television specials. As with previous work for television, some of these productions were later theatrically released. The last such work was Saraband (2003), a sequel to Scenes from a Marriage and directed by Bergman when he was 84 years old. Although he continued to operate from Munich, by mid-1978 Bergman had overcome some of his bitterness toward the Swedish government. In July of that year he visited Sweden, celebrating his sixtieth birthday on the island of Fårö, and partly resumed his work as a director at Royal Dramatic Theatre. To honour his return, the Swedish Film Institute launched a new Ingmar Bergman Prize to be awarded annually for excellence in filmmaking. [30] Still, he remained in Munich until 1984. In one of the last major interviews with Bergman, conducted in 2005 on the island of Fårö, Bergman said that despite being active during the exile, he had effectively lost eight years of his professional life. [31] Retirement and death [ edit] Bergman retired from filmmaking in December 2003. He had hip surgery in October 2006 and was making a difficult recovery. He died in his sleep [32] at age 89; his body was found at his home on the island of Fårö, on 30 July 2007. [33] (It was the same day another renowned existentialist film director, Michelangelo Antonioni, died. ) The interment was private, at the Fårö Church on 18 August 2007. A place in the Fårö churchyard was prepared for him under heavy secrecy. Although he was buried on the island of Fårö, his name and date of birth were inscribed under his wife's name on a tomb at Roslagsbro churchyard, Norrtälje Municipality, several years before his death. Style of working [ edit] Repertory company [ edit] A great number of Bergman's interior scenes were filmed at the Filmstaden studios north of Stockholm Bergman developed a personal "repertory company" of Swedish actors whom he repeatedly cast in his films, including Max von Sydow, Bibi Andersson, Harriet Andersson, Erland Josephson, Ingrid Thulin, Gunnel Lindblom, and Gunnar Björnstrand, each of whom appeared in at least five Bergman features. Norwegian actress Liv Ullmann, who appeared in nine of Bergman's films and one televisual film ( Saraband), was the last to join this group (in the film Persona), and ultimately became the most closely associated with Bergman, both artistically and personally. They had a daughter together, Linn Ullmann (born 1966). In Bergman's working arrangement with Sven Nykvist, his best-known cinematographer, the two men developed sufficient rapport to allow Bergman not to worry about the composition of a shot until the day before it was filmed. On the morning of the shoot, he would briefly speak to Nykvist about the mood and composition he hoped for, and then leave Nykvist to work, lacking interruption or comment until post-production discussion of the next day's work. Financing [ edit] By Bergman's own account, he never had a problem with funding. He cited two reasons for this: one, that he did not live in the United States, which he viewed as obsessed with box-office earnings; and two, that his films tended to be low-budget affairs. ( Cries and Whispers, for instance, was finished for about $450, 000, while Scenes from a Marriage, a six-episode television feature, cost only $200, 000. ) [34] Technique [ edit] Bergman usually wrote his films' screenplays, thinking about them for months or years before starting the actual process of writing, which he viewed as somewhat tedious. His earlier films are carefully constructed and are either based on his plays or written in collaboration with other authors. Bergman stated that in his later works, when on occasion his actors would want to do things differently from his own intention, he would let them, noting that the results were often "disastrous" when he did not do so. As his career progressed, Bergman increasingly let his actors improvise their dialogue. In his later films, he wrote just the ideas informing the scene and allowed his actors to determine the exact dialogue. When viewing daily rushes, Bergman stressed the importance of being critical but unemotive, claiming that he asked himself not if the work was great or terrible, but rather if it was sufficient or needed to be reshot. [34] Subjects [ edit] Bergman's films usually deal with existential questions of mortality, loneliness, and religious faith. In addition to these cerebral topics, however, sexual desire features in the foreground of most of his films, whether the central event is medieval plague ( The Seventh Seal), upper-class family activity in early twentieth century Uppsala ( Fanny and Alexander), or contemporary alienation ( The Silence). His female characters are usually more in touch with their sexuality than their male equivalents, and unafraid to proclaim it, sometimes with breathtaking overtness (as in Cries and Whispers) as would define the work of "the conjurer, " as Bergman called himself in a 1960 TIME cover story. [35] In an interview with Playboy in 1964, he said: "The manifestation of sex is very important, and particularly to me, for above all, I don't want to make merely intellectual films. I want audiences to feel, to sense my films. This to me is much more important than their understanding them. " Film, Bergman said, was his demanding mistress. [36] While he was a social democrat as an adult, Bergman stated that "as an artist I'm not politically involved... I don't make propaganda for either one attitude or the other. " [37] Bergman's views on his career [ edit] When asked in the series of interviews later titled "Ingmar Bergman – 3 dokumentärer om film, teater, Fårö och livet" conducted by Marie Nyreröd for Swedish TV and released in 2004, Bergman said that of his works, he held Winter Light, [38] Persona, and Cries and Whispers [39] in the highest regard. There he also states that he managed to push the envelope of film making in the films Persona and Cries and Whispers. Bergman stated on numerous occasions (for example in the interview book Bergman on Bergman) that The Silence meant the end of the era in which religious questions were a major concern of his films. Bergman said that he would get depressed by his own films: "jittery and ready to cry... and miserable. " [40] In the same interview he also stated: "If there is one thing I miss about working with films, it is working with Sven" (Nykvist), the third cinematographer with whom he had collaborated. Theatrical work [ edit] Although Bergman was universally famous for his contribution to cinema, he was also an active and productive stage director all his life. During his studies at what was then Stockholm University College, he became active in its student theatre, where he made a name for himself early on. His first work after graduation was as a trainee-director at a Stockholm theatre. At twenty-six years, he became the youngest theatrical manager in Europe at the Helsingborg City Theatre. He stayed at Helsingborg for three years and then became the director at Gothenburg city theatre from 1946 to 1949. He became director of the Malmö city theatre in 1953, and remained for seven years. Many of his star actors were people with whom he began working on stage. He was the director of the Royal Dramatic Theatre in Stockholm from 1960 to 1966, and manager from 1963 to 1966, where he began a long-time collaboration with choreographer Donya Feuer. After Bergman left Sweden because of the tax evasion incident, he became director of the Residenz Theatre of Munich, Germany (1977–84). He remained active in theatre throughout the 1990s and made his final production on stage with Henrik Ibsen 's The Wild Duck at the Royal Dramatic Theatre in 2002. Marriages and children [ edit] The grave of Ingmar Bergman and his last wife Ingrid Bergman was married five times: 25 March 1943 – 1945, to Else Fisher (1 March 1918 – 3 March 2006), choreographer and dancer (divorced). Children: Lena Bergman, actress, born 1943. 22 July 1945 – 1950, to Ellen Lundström (23 April 1919 – 6 March 2007), choreographer and film director (divorced). Children: Eva Bergman, film director, born 1945 Jan Bergman, film director (1946–2000) the twins Mats and Anna Bergman, both actors and film directors, born in 1948. 1951 – 1959, to Gun Grut (1916–1971), journalist (divorced). Children: Ingmar Bergman Jr., retired airline captain, born 1951. 1959 – 1969, to Käbi Laretei (14 July 1922 – 31 October 2014), concert pianist (divorced). Children: Daniel Bergman, film director, born 1962. 11 November 1971 – 20 May 1995, to Ingrid von Rosen (maiden name Karlebo). Children: Maria von Rosen, author, born 1959. The first four marriages ended in divorce, while the last ended when his wife Ingrid died of stomach cancer in 1995, aged 65. Aside from his marriages, Bergman had romantic relationships with actresses Harriet Andersson (1952–55), Bibi Andersson (1955–59), and Liv Ullmann (1965–70). He was the father of writer Linn Ullmann with Ullmann. In all, Bergman had nine children, one of whom predeceased him. Bergman eventually married all the mothers of his children, with the exception of Liv Ullmann. His daughter with his last wife, Ingrid von Rosen, was born twelve years before their marriage. Legacy and accolades [ edit] Bust of Ingmar Bergman in Celebrity Alley in Kielce, Poland Bergman's work was a point of reference and inspiration to director Woody Allen. His films are mentioned and praised on Annie Hall and other of his films. Allen also admired Bergman's longtime director of photography Sven Nykvist and invited him to be his DP on Crimes and Misdemeanors. [41] After Bergman died, a large archive of notes was donated to the Swedish Film Institute. Among the notes are several unpublished and unfinished scripts both for stage and films, and many more ideas for works in different stages of development. A never performed play has the title Kärlek utan älskare ("Love without lovers"), and has the note "Complete disaster! " written on the envelope; the play is about a director who disappears and an editor who tries to complete a work he has left unfinished. Other canceled projects include the script for a pornographic film which Bergman abandoned since he did not think it was alive enough, a play about a cannibal, some loose scenes set inside a womb, a film about the life of Jesus, a film about The Merry Widow, and a play with the title Från sperm till spöke ("From sperm to spook"). [42] The Swedish director Marcus Lindeen went through the material, and inspired by Kärlek utan älskare he took samples from many of the works and turned them into a play, titled Arkivet för orealiserbara drömmar och visioner ("The archive for unrealisable dreams and visions"). Lindeen's play premiered on 28 May 2012 at the Stockholm City Theatre. [42] Terrence Rafferty of The New York Times wrote that throughout the 1960s, when Bergman "was considered pretty much the last word in cinematic profundity, his every tic was scrupulously pored over, analyzed, elaborated in ingenious arguments about identity, the nature of film, the fate of the artist in the modern world and so on. " [43] Writer and director, Richard Ayoade, counts Bergman as one of his inspirations. In 2017, the British Film Institute (BFI) hosted an Ingmar Bergman season and Ayoade said in a Guardian interview that he saw everything in it, "which was one of the best two months ever. " [44] The BFI's programme included a discussion with Ayoade on Bergman's 1966 film, Persona, before a screening. [45] Awards [ edit] In 1971, Bergman received the Irving G. Thalberg Memorial Award at the Academy Awards ceremony. Three of his films ( Through a Glass Darkly, The Virgin Spring, and Fanny and Alexander) won the Academy Award for Best Foreign Language Film. He represented all of the Academy Award wins of Sweden so far. He won the Palme D’or award for The Best Intentions, as well as the Best Director award in the Cannes Film Festival; he won the Golden Bear for Wild Strawberries. He won many others and has been nominated for numerous awards. Exhibitions [ edit] Year Exhibition Name Work 2012 The Image Maker Ingmar Bergman The Man Who Asked Hard Questions Filmography [ edit] See also [ edit] Cinema of Sweden List of film collaborations Notes [ edit] References [ edit] ^ Rothstein, Mervyn (30 July 2007). "Ingmar Bergman, Master Director, Dies at 89". The New York Times. ISSN   0362-4331. Retrieved 31 July 2007. Ingmar Bergman, the 'poet with the camera' who is considered one of the greatest directors in motion picture history, died today on the small island of Faro where he lived on the Baltic coast of Sweden, Astrid Soderbergh Widding, president of The Ingmar Bergman Foundation, said. Bergman was 89. ^ Tuohy, Andy (3 September 2015). A-Z Great Film Directors. Octopus. ISBN   9781844038558. ^ Gallagher, John (1 January 1989). Film Directors on Directing. ABC-CLIO. ISBN   9780275932725. ^ French, Philip (5 August 2007). "Twin visionaries of a darker art". The Observer. Retrieved 15 May 2017. ^ Mercury (9 May 2010). "Philosophy of Science Portal: Film maker on film Scorsese on Ingmar Bergman". Philosophy of Science Portal. Retrieved 16 March 2019. ^ Steene 2005, p. 23. ^ Gado 1986, p. 374. ^ In a book published in 2011, Bergman's niece Veronica Ralston suggested that the director was not identical to the child born to Erik and Karin Bergman in July 1918. Ralston's claim was that this child would have died and been substituted for another child allegedly born to Erik Bergman in an extramarital relationship. (See Who was the mother of Ingmar Bergman? Dagens Nyheter, 26 May 2011. Retrieved 28 May 2011. ) The DNA evidence was weakened after the laboratory consulted by Ralston clarified that it had only been possible to extract DNA from one out of two stamps submitted for testing, and the child supposedly substituted for the newborn child of Karin Bergman was later identified as having emigrated to the US in 1923 with his adopted parents and lived there until his death in 1982 (Clas Barkman, " Nya turer i mysteriet kring Bergman ", Dagens Nyheter, 4 June 2011. Retrieved 8 June 2011). ^ Kalin, Jesse (2003). The Films of Ingmar Bergman. p. 193. ^ Rothstein, Mervyn (31 July 2007). "Ingmar Bergman, Master Filmmaker, Dies at 89". The New York Times. ^ For an extended discussion of the profound influence that August Strindberg's work played in Bergman's life and career, see: Ottiliana Rolandsson, Pure Artistry: Ingmar Bergman, the Face as Portal and the Performance of the Soul, Ph. D. dissertation, University of California, Santa Barbara, 2010, especially chapter 3, "Bergman, Strindberg and the Territories of Imagination". ^ Steene 2005, p. 33. ^ a b Gado 1986, p. 59. ^ Macnab, Geoffrey (2009). Ingmar Bergman: The Life and Films of the Last Great European Director. I. B. Tauris. ISBN   978-0857713575. ^ Vermilye, Jerry (2001). Ingmar Bergman: His Life and Films. p. 6. ; see also Bergman's autobiography, Laterna Magica. ^ Ingmar Bergman, The Magic Lantern (transl. from Swedish: Laterna Magica), Chicago: University of Chicago Press, 2007; ISBN   978-0-226-04382-1. ^ "Bergman admits Nazi past". BBC News. 7 September 1999. ^ Peter Ohlin. (2009. ) "Bergman's Nazi Past", Scandinavian Studies, 81 (4):437-74. ^ Vermilye, Jerry (2001). p. 6. ^ Ingmar Bergman, Images: my life in film (translated from the Swedish by Marianne Ruuth), London: Bloomsbury, 1994. ISBN   0-7475-1670-7. ^ Bergman, Ingmar. in the Aftonbladet (9 October 1944) (translated from Swedish) ^ Fristoe, Roger. "Torment (1944)". Turner Classic Movies, Inc. Retrieved 28 March 2017. ^ Stated in Marie Nyreröd 's interview series (the first part named Bergman och filmen) aired on Sveriges Television Easter 2004. ^ In contrast, in 1964 Bergman had the three scripts published in a single volume: "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. " The Criterion Collection groups the films as a trilogy in a boxed set. In the 1963 documentary Ingmar Bergman Makes a Movie, about the making of Winter Light, supports the idea that Bergman did not plan a trilogy. In the interview with Bergman about writing the script of Winter Light, and the interviews made during the shooting of it, he hardly mentions Through a Glass Darkly. Instead, he discusses the themes of Winter Light, in particular the religious issues, in relation to The Virgin Spring. ^ Theall, Donald F. (1995). Beyond the Word: reconstructing sense in the Joyce era of technology, culture, and communication. p. 35. ISBN   9780802006301. ^ "The 46th Academy Awards (1974) Nominees and Winners". Academy of Motion Picture Arts and Sciences. Archived from the original on 15 March 2015. Retrieved 31 December 2011. ^ Åtal mot Bergman läggs ned [ Charges against Bergman dropped]. Rapport (in Swedish). Sveriges Television. 23 March 1976. Archived from the original (News report) on 21 November 2011. ^ Generaldirektör om Bergmans flykt [ The Director General about Bergman's escape]. 22 April 1976. Archived from the original (News report) on 4 September 2011. ^ Harry Schein om Bergmans flykt [ Harry Schein about Bergman's escape]. Archived from the original (News report) on 20 November 2011. ^ Ephraim Katz, The Film Encyclopedia, New York: HarperCollins, 5th ed., 1998. ^ Ingmar Bergman: Samtal på Fårö [ Ingmar Bergman: Talks on Fårö] (in Swedish), Sveriges Radio, 28 March 2005 ^ "Bergman was buried in a quiet ceremony". London. 18 August 2007. Retrieved 5 January 2010. ^ "Film Great Ingmar Bergman Dies at 89". 30 July 2007. Archived from the original on 26 September 2007. Retrieved 30 July 2007. ^ a b American Film Institute seminar, 1975, on The Criterion Collection's 2006 DVD of The Virgin Spring. ^ "THE SCREEN: I Am A Conjurer". Time. 14 March 1960. Retrieved 16 November 2009. ^ Koskinen, Maaret (1 April 2010). Ingmar Bergman's The Silence: Pictures in the Typewriter, Writings on the Screen. University of Washington Press. ISBN   9780295801957. ^ Bergman on Bergman: Interviews with Ingmar Bergman. By Stig Björkman, Torsten Manns, and Jonas Sima; translated by Paul Britten Austin. Simon & Schuster, New York. p. 176-178. Swedish edition copyright 1970; English translation 1973. ^ "Winter Light". 2005. ^ Steene 2005. ^ "Bergman 'depressed' by own films". 10 April 2004. Retrieved 2 October 2019. ^ "Bergman's Influence on Woody Allen". 5 June 2014. ^ a b Jacobsson, Cecilia (28 May 2012). "Ingmar Bergmans ratade texter blev ny pjäs" [Ingmar Bergman's rejected texts became new play]. Dagens Nyheter (in Swedish). Retrieved 2 October 2019. ^ Rafferty, Terrence (8 February 2004). "FILM; On the Essential Strangeness of Bergman". p. 13. ^ Petridis, Alexis (15 January 2011). "Richard Ayoade: Meet Mr Modest". The Guardian. ISSN   0261-3077. Retrieved 28 November 2019. ^ "BFI announces further details of Ingmar Bergman centenary celebrations" (PDF). BFI. 28 November 2017. Retrieved 28 November 2019. Bibliography [ edit] Bergman on Bergman: Interviews with Ingmar Bergman. Swedish edition copyright 1970; English translation 1973. Filmmakers on filmmaking: the American Film Institute seminars on motion pictures and television (edited by Joseph McBride). Boston, Houghton Mifflin Co., 1983. Images: my life in film, Ingmar Bergman. Translated by Marianne Ruuth. New York, Arcade Pub., 1994, ISBN   1-55970-186-2 Steene, Birgitta (1 January 2005). Ingmar Bergman: A Reference Guide. Amsterdam University Press. ISBN   9789053564066. The Magic Lantern, Ingmar Bergman. Translated by Joan Tate New York, Viking Press, 1988, ISBN   0-670-81911-5 The Demons of Modernity: Ingmar Bergman and European Cinema, John Orr, Berghahn Books, 2014. Gado, Frank (1986). The Passion of Ingmar Bergman. Duke University Press. ISBN   0822305860. External links [ edit] Quotations related to Ingmar Bergman at Wikiquote Media related to Ingmar Bergman at Wikimedia Commons Bibliographies Ingmar Bergman Bibliography (via UC Berkeley) Ingmar Bergman Site Collection of interviews with Bergman Awards for Ingmar Bergman v t e Academy Award for Best International Feature Film 1947–1955 (Honorary) 1947: Shoeshine – Vittorio De Sica 1948: Monsieur Vincent – Maurice Cloche 1949: Bicycle Thieves – Vittorio De Sica 1950: The Walls of Malapaga – René Clément 1951: Rashomon – Akira Kurosawa 1952: Forbidden Games – René Clément 1953: No Award 1954: Gate of Hell – Teinosuke Kinugasa 1955: Samurai, The Legend of Musashi – Hiroshi Inagaki 1956–1975 1956: La Strada – Federico Fellini 1957: Nights of Cabiria – Federico Fellini 1958: My Uncle – Jacques Tati 1959: Black Orpheus – Marcel Camus 1960: The Virgin Spring – Ingmar Bergman 1961: Through a Glass Darkly – Ingmar Bergman 1962: Sundays and Cybele – Serge Bourguignon 1963: ​ 8   1 ⁄ 2 – Federico Fellini 1964: Yesterday, Today and Tomorrow – Vittorio De Sica 1965: The Shop on Main Street – Ján Kadár & Elmar Klos 1966: A Man and a Woman – Claude Lelouch 1967: Closely Watched Trains – Jiří Menzel 1968: War and Peace – Sergei Bondarchuk 1969: Z – Costa-Gavras 1970: Investigation of a Citizen Above Suspicion – Elio Petri 1971: The Garden of the Finzi-Continis – Vittorio De Sica 1972: The Discreet Charm of the Bourgeoisie – Luis Buñuel 1973: Day for Night – François Truffaut 1974: Amarcord – Federico Fellini 1975: Dersu Uzala – Akira Kurosawa 1976–2000 1976: Black and White in Color – Jean-Jacques Annaud 1977: Madame Rosa – Moshé Mizrahi 1978: Get Out Your Handkerchiefs – Bertrand Blier 1979: The Tin Drum – Volker Schlöndorff 1980: Moscow Does Not Believe in Tears – Vladimir Menshov 1981: Mephisto – István Szabó 1982: Volver a Empezar ('To Begin Again') – José Luis Garci 1983: Fanny and Alexander – Ingmar Bergman 1984: Dangerous Moves – Richard Dembo 1985: The Official Story – Luis Puenzo 1986: The Assault – Fons Rademakers 1987: Babette's Feast – Gabriel Axel 1988: Pelle the Conqueror – Bille August 1989: Cinema Paradiso – Giuseppe Tornatore 1990: Journey of Hope – Xavier Koller 1991: Mediterraneo – Gabriele Salvatores 1992: Indochine – Régis Wargnier 1993: Belle Epoque – Fernando Trueba 1994: Burnt by the Sun – Nikita Mikhalkov 1995: Antonia's Line – Marleen Gorris 1996: Kolya – Jan Svěrák 1997: Character – Mike van Diem 1998: Life Is Beautiful – Roberto Benigni 1999: All About My Mother – Pedro Almodóvar 2000: Crouching Tiger, Hidden Dragon – Ang Lee 2001–present 2001: No Man's Land – Danis Tanović 2002: Nowhere in Africa – Caroline Link 2003: The Barbarian Invasions – Denys Arcand 2004: The Sea Inside – Alejandro Amenábar 2005: Tsotsi – Gavin Hood 2006: The Lives of Others – Florian Henckel von Donnersmarck 2007: The Counterfeiters – Stefan Ruzowitzky 2008: Departures – Yōjirō Takita 2009: The Secret in Their Eyes – Juan José Campanella 2010: In a Better World – Susanne Bier 2011: A Separation – Asghar Farhadi 2012: Amour – Michael Haneke 2013: The Great Beauty – Paolo Sorrentino 2014: Ida – Paweł Pawlikowski 2015: Son of Saul – László Nemes 2016: The Salesman – Asghar Farhadi 2017: A Fantastic Woman – Sebastián Lelio 2018: Roma – Alfonso Cuarón 2019: Parasite – Bong Joon-ho v t e BAFTA Fellowship recipients 1971–2000 Alfred Hitchcock (1971) Freddie Young (1972) Grace Wyndham Goldie (1973) David Lean (1974) Jacques Cousteau (1975) Charlie Chaplin (1976) Laurence Olivier (1976) Denis Forman (1977) Fred Zinnemann (1978) Lew Grade (1979) Huw Wheldon (1979) David Attenborough (1980) John Huston (1980) Abel Gance (1981) Michael Powell & Emeric Pressburger (1981) Andrzej Wajda (1982) Richard Attenborough (1983) Hugh Greene (1984) Sam Spiegel (1984) Jeremy Isaacs (1985) Steven Spielberg (1986) Federico Fellini (1987) Ingmar Bergman (1988) Alec Guinness (1989) Paul Fox (1990) Louis Malle (1991) John Gielgud (1992) David Plowright (1992) Sydney Samuelson (1993) Colin Young (1993) Michael Grade (1994) Billy Wilder (1995) Jeanne Moreau (1996) Ronald Neame (1996) John Schlesinger (1996) Maggie Smith (1996) Woody Allen (1997) Steven Bochco (1997) Julie Christie (1997) Oswald Morris (1997) Harold Pinter (1997) David Rose (1997) Sean Connery (1998) Bill Cotton (1998) Eric Morecambe & Ernie Wise (1999) Elizabeth Taylor (1999) Michael Caine (2000) Stanley Kubrick (2000) Peter Bazalgette (2000) Albert Finney (2001) John Thaw (2001) Judi Dench (2001) Warren Beatty (2002) Merchant Ivory Productions (2002) Andrew Davies (2002) John Mills (2002) Saul Zaentz (2003) David Jason (2003) John Boorman (2004) Roger Graef (2004) John Barry (2005) David Frost (2005) David Puttnam (2006) Ken Loach (2006) Anne V. Coates (2007) Richard Curtis (2007) Will Wright (2007) Anthony Hopkins (2008) Bruce Forsyth (2008) Dawn French & Jennifer Saunders (2009) Terry Gilliam (2009) Nolan Bushnell (2009) Vanessa Redgrave (2010) Shigeru Miyamoto (2010) Melvyn Bragg (2010) Christopher Lee (2011) Peter Molyneux (2011) Trevor McDonald (2011) Martin Scorsese (2012) Rolf Harris (2012) Alan Parker (2013) Gabe Newell (2013) Michael Palin (2013) Helen Mirren (2014) Rockstar Games (2014) Julie Walters (2014) Mike Leigh (2015) David Braben (2015) Jon Snow (2015) Sidney Poitier (2016) John Carmack (2016) Ray Galton & Alan Simpson (2016) Mel Brooks (2017) Joanna Lumley (2017) Ridley Scott (2018) Tim Schafer (2018) Kate Adie (2018) Thelma Schoonmaker (2019) Joan Bakewell (2019) Kathleen Kennedy (2020) v t e Cannes Film Festival Best Director Award René Clément (1946) René Clément (1949) Luis Buñuel (1951) Christian-Jaque (1952) Jules Dassin / Sergei Vasilyev (1955) Sergei Yutkevich (1956) Robert Bresson (1957) Ingmar Bergman (1958) François Truffaut (1959) Yuliya Solntseva (1961) Liviu Ciulei (1965) Sergei Yutkevich (1966) Ferenc Kósa (1967) Glauber Rocha / Vojtěch Jasný (1969) John Boorman (1970) Miklós Jancsó (1972) Michel Brault / Costa-Gavras (1975) Ettore Scola (1976) Nagisa Oshima (1978) Terrence Malick (1979) Werner Herzog (1982) Robert Bresson / Andrei Tarkovsky (1983) Bertrand Tavernier (1984) André Téchiné (1985) Martin Scorsese (1986) Wim Wenders (1987) Fernando Solanas (1988) Emir Kusturica (1989) Pavel Lungin (1990) Joel Coen (1991) Robert Altman (1992) Mike Leigh (1993) Nanni Moretti (1994) Mathieu Kassovitz (1995) Joel Coen (1996) Wong Kar-wai (1997) John Boorman (1998) Pedro Almodóvar (1999) Edward Yang (2000) Joel Coen / David Lynch (2001) Im Kwon-taek / Paul Thomas Anderson (2002) Gus Van Sant (2003) Tony Gatlif (2004) Michael Haneke (2005) Alejandro González Iñárritu (2006) Julian Schnabel (2007) Nuri Bilge Ceylan (2008) Brillante Mendoza (2009) Mathieu Amalric (2010) Nicolas Winding Refn (2011) Carlos Reygadas (2012) Amat Escalante (2013) Bennett Miller (2014) Hou Hsiao-hsien (2015) Olivier Assayas / Cristian Mungiu (2016) Sofia Coppola (2017) Paweł Pawlikowski (2018) Jean-Pierre Dardenne, Luc Dardenne (2019) v t e Directors Guild of America Lifetime Achievement Award – Feature Film Cecil B. DeMille (1952) John Ford (1953) Henry King (1955) King Vidor (1956) Frank Capra (1958) George Stevens (1959) Frank Borzage (1960) William Wyler (1965) Alfred Hitchcock (1967) Fred Zinnemann (1969) David Lean and William A. Wellman (1972) George Cukor (1980) Rouben Mamoulian (1981) John Huston (1982) Orson Welles (1983) Billy Wilder (1984) Joseph L. Mankiewicz (1985) Elia Kazan (1986) Robert Wise (1987) Ingmar Bergman (1989) Akira Kurosawa (1991) Sidney Lumet (1992) Robert Altman (1993) James Ivory (1994) Woody Allen (1995) Stanley Kubrick (1996) Francis Ford Coppola (1997) Steven Spielberg (1999) Martin Scorsese (2002) Mike Nichols (2003) Clint Eastwood (2005) Norman Jewison (2009) Miloš Forman (2012) Ridley Scott (2016) v t e European Film Academy Lifetime Achievement Award Ingmar Bergman (1988) Marcello Mastroianni (1988) Federico Fellini (1989) Andrzej Wajda (1990) Alexandre Trauner (1991) Billy Wilder (1992) Michelangelo Antonioni (1993) Robert Bresson (1994) Marcel Carné (1995) Alec Guinness (1996) Jeanne Moreau (1997) Ennio Morricone (1999) Richard Harris (2000) Monty Python (2001) Tonino Guerra (2002) Claude Chabrol (2003) Carlos Saura (2004) Sean Connery (2005) Roman Polanski (2006) Jean-Luc Godard (2007) Judi Dench (2008) Ken Loach (2009) Bruno Ganz (2010) Stephen Frears (2011) Bernardo Bertolucci (2012) Catherine Deneuve (2013) Agnès Varda (2014) Charlotte Rampling (2015) Jean-Claude Carrière (2016) Alexander Sokurov (2017) Carmen Maura (2018) Werner Herzog (2019) v t e Guldbagge Award for Best Director 1963–1990 Ingmar Bergman (1963/64) Arne Sucksdorff (1964/65) Alf Sjöberg (1965/66) Jan Troell (1966/67) Kjell Grede (1967/68) Bo Widerberg (1968/69) Lars Lennart Forsberg (1969/70) Tage Danielsson (1971/72) Johan Bergenstråhle (1972/73) Vilgot Sjöman (1973/74) Hasse Alfredson (1974/75) Jan Halldoff (1975/76) Marianne Ahrne (1976/77) Olle Hellbom (1977/78) Stefan Jarl (1978/79) Kay Pollak (1980/81) Hasse Alfredson (1981/82) Ingmar Bergman (1982/83) Hrafn Gunnlaugsson (1984) Hasse Alfredson (1985) Suzanne Osten (1986) Kjell Grede (1987) Max von Sydow (1988) Åke Sandgren (1989) Kjell Grede (1990) 1991–present Anders Grönros (1991) Colin Nutley (1992) Clas Lindberg (1993) Ulf Hultberg & Åsa Faringer (1994) Bo Widerberg (1995) Kjell Sundvall (1996) Daniel Alfredson (1997) Lukas Moodysson (1998) Ella Lemhagen (1999) Roy Andersson (2000) Jan Troell (2001) Lukas Moodysson (2002) Björn Runge (2003) Tomas Alfredson (2004) Ulf Malmros (2005) Ylva Gustavsson & Catti Edfeldt (2006) Roy Andersson (2007) Tomas Alfredson (2008) Lisa Siwe (2009) Pernilla August (2010) Ruben Östlund (2011) Gabriela Pichler (2012) Per Fly (2013) Ruben Östlund (2014) Magnus von Horn (2015) Goran Kapetanović (2016) Ruben Östlund (2017) v t e Guldbagge Award for Best Screenplay Bengt Danneborn & Lennart Persson (1988) Stig Larsson & Åke Sandgren (1989) Clas Lindberg (1991) Ingmar Bergman (1992) Daniel Alfredson & Jonas Cornell (1993) Peter Dalle & Rolf Börjlind (1994) Jonas Gardell (1995) Per Olov Enquist (1996) Annika Thor (1997) Ulf Stark (1999) Hans Gunnarsson & Mikael Håfström (2001) Maria Blom (2004) Lena Einhorn (2005) Hans Renhäll & Ylva Gustavsson (2006) John Ajvide Lindqvist (2008) Ulf Malmros (2009) Lisa Langseth (2010) Josefine Adolfsson & Lisa Aschan (2011) Anna Odell (2013) Peter Grönlund (2015) Johannes Nyholm (2016) Amanda Kernell (2017) v t e Irving G. Thalberg Memorial Award Darryl F. Zanuck (1938) Hal B. Wallis (1939) David O. Selznick (1940) Walt Disney (1942) Sidney Franklin (1943) Hal B. Wallis (1944) Darryl F. Zanuck (1945) Samuel Goldwyn (1947) Jerry Wald (1949) Darryl F. Zanuck (1951) Arthur Freed (1952) Cecil B. DeMille (1953) George Stevens (1954) Buddy Adler (1957) Jack L. Warner (1959) Stanley Kramer (1962) Sam Spiegel (1964) William Wyler (1966) Robert Wise (1967) Alfred Hitchcock (1968) Ingmar Bergman (1971) Lawrence Weingarten (1974) Mervyn LeRoy (1976) Pandro S. Berman (1977) Walter Mirisch (1978) Ray Stark (1980) Albert R. Broccoli (1982) Billy Wilder (1988) David Brown and Richard D. Zanuck (1991) George Lucas (1992) Clint Eastwood (1995) Saul Zaentz (1997) Norman Jewison (1999) Warren Beatty (2000) Dino De Laurentiis (2001) John Calley (2009) Francis Ford Coppola (2010) Kathleen Kennedy and Frank Marshall (2018) v t e National Board of Review Award for Best Director Jean Renoir (1945) William Wyler (1946) Elia Kazan (1947) Roberto Rossellini (1948) Vittorio De Sica (1949) John Huston (1950) Akira Kurosawa (1951) David Lean (1952) George Stevens (1953) Renato Castellani (1954) William Wyler (1955) John Huston (1956) David Lean (1957) John Ford (1958) Fred Zinnemann (1959) Jack Cardiff (1960) Jack Clayton (1961) David Lean (1962) Tony Richardson (1963) Desmond Davis (1964) John Schlesinger (1965) Fred Zinnemann (1966) Richard Brooks (1967) Franco Zeffirelli (1968) Alfred Hitchcock (1969) François Truffaut (1970) Ken Russell (1971) Bob Fosse (1972) Ingmar Bergman (1973) Francis Ford Coppola (1974) Robert Altman / Stanley Kubrick (1975) Alan J. Pakula (1976) Luis Buñuel (1977) Ingmar Bergman (1978) John Schlesinger (1979) Robert Redford (1980) Warren Beatty (1981) Sidney Lumet (1982) James L. Brooks (1983) David Lean (1984) Akira Kurosawa (1985) Woody Allen (1986) Steven Spielberg (1987) Alan Parker (1988) Kenneth Branagh (1989) Kevin Costner (1990) Jonathan Demme (1991) James Ivory (1992) Martin Scorsese (1993) Quentin Tarantino (1994) Ang Lee (1995) Curtis Hanson (1997) Shekhar Kapur (1998) Anthony Minghella (1999) Steven Soderbergh (2000) Todd Field (2001) Phillip Noyce (2002) Edward Zwick (2003) Michael Mann (2004) Ang Lee (2005) Martin Scorsese (2006) Tim Burton (2007) David Fincher (2008) Clint Eastwood (2009) David Fincher (2010) Martin Scorsese (2011) Kathryn Bigelow (2012) Spike Jonze (2013) Clint Eastwood (2014) Ridley Scott (2015) Barry Jenkins (2016) Greta Gerwig (2017) Bradley Cooper (2018) Quentin Tarantino (2019) v t e National Society of Film Critics Award for Best Director Michelangelo Antonioni (1966) Ingmar Bergman (1967) Ingmar Bergman (1968) François Truffaut (1969) Ingmar Bergman (1970) Bernardo Bertolucci (1971) Luis Buñuel (1972) François Truffaut (1973) Robert Altman (1975) Martin Scorsese (1976) Terrence Malick (1978) Woody Allen / Robert Benton (1979) Martin Scorsese (1980) Louis Malle (1981) Steven Spielberg (1982) Paolo Taviani and Vittorio Taviani (1983) Robert Bresson (1984) John Huston (1985) David Lynch (1986) John Boorman (1987) Philip Kaufman (1988) Gus Van Sant (1989) Martin Scorsese (1990) David Cronenberg (1991) Clint Eastwood (1992) Steven Spielberg (1993) Mike Figgis (1995) Lars von Trier (1996) Steven Soderbergh (1998) Mike Leigh (1999) Robert Altman (2001) Roman Polanski (2002) Clint Eastwood (2003) Zhang Yimou (2004) David Cronenberg (2005) Paul Greengrass (2006) Paul Thomas Anderson (2007) Mike Leigh (2008) Kathryn Bigelow (2009) Terrence Malick (2011) Michael Haneke (2012) Joel Coen and Ethan Coen (2013) Richard Linklater (2014) Todd Haynes (2015) Alfonso Cuarón (2018) Greta Gerwig (2019) v t e National Society of Film Critics Award for Best Screenplay 1967–2000 David Newman and Robert Benton (1967) John Cassavetes (1968) Paul Mazursky and Larry Tucker (1969) Éric Rohmer (1970) Penelope Gilliatt (1971) Ingmar Bergman (1972) George Lucas, Gloria Katz and Willard Huyck (1973) Ingmar Bergman (1974) Robert Towne and Warren Beatty (1975) Alain Tanner and John Berger (1976) Woody Allen and Marshall Brickman (1977) Paul Mazursky (1978) Steve Tesich (1979) Bo Goldman (1980) John Guare (1981) Murray Schisgal and Larry Gelbart (1982) Bill Forsyth (1983) Lowell Ganz, Babaloo Mandel and Bruce Jay Friedman (1984) Albert Brooks and Monica Johnson (1985) Hanif Kureishi (1986) Ron Shelton (1988) Gus Van Sant and Daniel Yost (1989) Charles Burnett (1990) David Webb Peoples (1992) Jane Campion (1993) Quentin Tarantino and Roger Avary (1994) Amy Heckerling (1995) Albert Brooks and Monica Johnson (1996) Curtis Hanson and Brian Helgeland (1997) Scott Frank (1998) Charlie Kaufman (1999) Kenneth Lonergan (2000) Julian Fellowes (2001) Ronald Harwood (2002) Shari Springer Berman and Robert Pulcini (2003) Alexander Payne and Jim Taylor (2004) Noah Baumbach (2005) Peter Morgan (2006) Tamara Jenkins (2007) Joel Coen and Ethan Coen (2009) Aaron Sorkin (2010) Asghar Farhadi (2011) Tony Kushner (2012) Richard Linklater, Ethan Hawke, and Julie Delpy (2013) Wes Anderson (2014) Tom McCarthy and Josh Singer (2015) Kenneth Lonergan (2016) Armando Iannucci, David Schneider, and Ian Martin (2018) Bong Joon-ho and Han Jin-won (2019) v t e New York Film Critics Circle Award for Best Director John Ford (1935) Rouben Mamoulian (1936) Gregory La Cava (1937) Alfred Hitchcock (1938) John Ford (1939) John Ford (1940) John Ford (1941) John Farrow (1942) George Stevens (1943) Leo McCarey (1944) Billy Wilder (1945) John Huston (1948) Carol Reed (1949) Joseph L. Mankiewicz (1950) Elia Kazan (1951) Fred Zinnemann (1952) Fred Zinnemann (1953) Elia Kazan (1954) David Lean (1955) Stanley Kramer (1958) Jack Cardiff / Billy Wilder (1960) Robert Rossen (1961) No award (1962) Stanley Kubrick (1964) Mike Nichols (1967) Paul Newman (1968) Costa-Gavras (1969) Bob Rafelson (1970) Stanley Kubrick (1971) Federico Fellini (1974) Woody Allen (1977) Woody Allen (1979) Jonathan Demme (1980) Sidney Lumet (1981) Sydney Pollack (1982) Ingmar Bergman (1983) James L. Brooks (1987) Chris Menges (1988) Paul Mazursky (1989) Terrence Malick (1998) Todd Haynes (2002) Sofia Coppola (2003) Clint Eastwood (2004) Joel Coen and Ethan Coen (2007) Michel Hazanavicius (2011) Steve McQueen (2013) Sean Baker (2017) Joshua Safdie and Benjamin Safdie (2019) v t e Recipients of the Sonning Prize Winston Churchill (1950) Albert Schweitzer (1959) Bertrand Russell (1960) Niels Bohr (1961) Alvar Aalto (1962) Karl Barth (1963) Dominique Pire (1964) Richard von Coudenhove-Kalergi (1965) Laurence Olivier (1966) Willem Visser 't Hooft (1967) Arthur Koestler (1968) Halldór Laxness (1969) Max Tau (1970) Danilo Dolci (1971) Karl Popper (1973) Hannah Arendt (1975) Arne Næss (1977) Hermann Gmeiner (1979) Dario Fo (1981) Simone de Beauvoir (1983) William Heinesen (1985) Jürgen Habermas (1987) Václav Havel (1991) Krzysztof Kieślowski (1994) Günter Grass (1996) Jørn Utzon (1998) Eugenio Barba (2000) Mary Robinson (2002) Mona Hatoum (2004) Ágnes Heller (2006) Renzo Piano (2008) Hans Magnus Enzensberger (2010) Orhan Pamuk (2012) Michael Haneke (2014) Lars von Trier (2018).

Ingmar bergman films ranked. Ingmar bergman persona. Ingmar bergman imdb. Ingmar bergman youtube. FILMGRAB [ •] ONLINE LIBRARY CONSISTING OF 100, 000+ STILLS SPANNING 100+ YEARS OF FILM. Ingmar Bergman urodził się w Upsali 14 lipca 1918 roku. Jego ojcem był luterański pastor Eric Bergman, późniejszy kapelan szwedzkiej rodziny królewskiej. W jego rodzinnym domu panowała ścisła dyscyplina. Jedną ze stosowanych przez jego ojca kar było zamykanie młodego chłopca w szafie (ten wątek pojawi się w filmie „Twarzą w twarz”). Jako 9-letni chłopiec rozpoczął przygodę z „teatrem”. Tworzył przedstawienia za pomocą własnoręcznie wykonywanych marionetek i dekoracji. Studiował sztukę i literaturę na Uniwersytecie Sztokholmskim. W trakcie studiów pisał wiele tekstów literackich ( powieści, sztuki i opowiadania), które w większości nie doczekały się publikacji. Pracował jako asystent reżysera w jednym ze sztokholmskich teatrów, a także dokonywał korekt cudzych scenariuszy. W 1942 roku otrzymał szansę samodzielnego wystawienia swojej własnej sztuki pt. „Śmierć Kacpra”. Jako scenarzysta filmowy zadebiutował w 1944 roku. Jego „Skandal” zekranizował Alf Sjöberg. Dwa lata później wyreżyserował swój pierwszy film pt. „Kryzys", z własnym scenariuszem opartym na podstawie duńskiej powieści. Pierwszym w pełni autorskim filmem szwedzkiego twórcy było „Więzienie”, w którym pojawiły się elementy charakterystyczne dla całej jego twórczości, takie jak podważanie istnienia Boga czy psychoanalityczny wymiar snu. Kolejne filmy były realizowane na zamówienie i nie przejawiały wielkiej wartości artystycznej. Na uwagę zasługuje jedynie „Wieczór kuglarzy” z 1953 roku, do którego zdjęcia wykonał Sven Nykvist, późniejszy stały współpracownik Bergmana. Przełom w karierze szwedzkiego twórcy stanowi dopiero jego siedemnasty film - „Siódma pieczęć”. Arcydzieło z 1957 roku, opowiadające o rycerzu, który gra w szachy ze śmiercią, jest także początkiem bogatej kariery Maxa von Sydowa. Za ten film reżyser otrzymał specjalną nagrodę jury na festiwalu w Cannes (ex equo z „Kanałem” Andrzeja Wajdy). W tym samym roku powstał inny ważny film - „Tam, gdzie rosną poziomki” (uhonorowany Złotym Niedźwiedziem na festiwalu w Berlinie), ze znakomitą kreacją Victora Sjöströma. Lata 1958-1960 przyniosły kolejne nagrody (Złota Palma za reżyserię filmu „U progu życia” i Oscar dla filmu nieanglojęzycznego za „Źródło”). Początek lat 60-tych to zwrot w stronę kammarspelu (szwedz. „sztuka kameralna"). W tej pozbawionej rozmachu, ale skupiającej się na dyskretnych środkach wyrazu konwencji (mistrzowsko realizowanej przez Nykvista), powstała słynna trylogia: „Jak w zwierciadle” (drugi Oscar w karierze Bergmana), „Goście wieczerzy pańskiej” i „Milczenie”. Te filmy nie są powiązane fabularnie, dotyczą jednak szeroko pojętego tematu wiary w Boga, pojawiających się wątpliwości i w końcu zaprzeczenia jego istnieniu. Kolejnym wielkim dziełem jest „Persona” nakręcona w 1966 roku, w którym po raz pierwszy wystąpiła ulubiona aktorka reżysera - Liv Ullmann. Okres 1957-1966 był zdecydowanie najlepszym w twórczości Bergmana. W późnych latach 60-tych i 70-tych, choć wciąż tworzył bardzo dobre, a momentami wybitne filmy (chociażby „Godzina wilka”, „Szepty i krzyki", „Sceny z życia małżeńskiego" i „Twarzą w twarz"), nie wzniósł się już na swój najwyższy poziom. Jego ostatnim wielkim dziełem był „Fanny i Alexander”, nagrodzony czterema Oscarami. W 1997 roku, na pięćdziesięciolecie festiwalu w Cannes, otrzymał Palmę Palm, specjalną nagrodę przyznaną mu przez wszystkich dotychczasowych laureatów Złotej Palmy. Umarł na wyspie Faro 30 lipca 2007 w wieku 89 lat. Głównymi tematami poruszanymi w twórczości Bergmana były samotność, cierpienie i problemy psychiczne, pokazywane najczęściej przez pryzmat kobiecych postaci; problemy w związkach kobiety i mężczyzny, polegające na niezrozumieniu, wojnie płci; rola artysty i sztuki. Często pojawiały się wątki autobiograficzne, najbardziej widoczne w filmie „Fanny i Alexander”, opartym na wspomnieniach z okresu dzieciństwa. Także dzieła traktujące o kryzysie twórczym i wątpliwościach artysty można traktować jako autobiograficzne („Persona”, „Z życia marionetek”). Również temat rozpadu związków i skomplikowanych relacji damsko-męskich był Bergmanowi znany z autopsji. Był pięciokrotnie żonaty, miał dziewięcioro własnych dzieci i jedno przysposobione. Poza tym wdawał się w romanse z poznanymi na planie aktorkami, Harriet Andersson, Bibi Andersson i Liv Ullmann, z którą miał nieślubną córkę. Posiadał grupę aktorów, z którymi współpracował przy produkcji większości filmów. Do najważniejszych, obok wyżej wymienionych aktorek, należą Erland Josephson, Gunnar Björnstrand, Max von Sydow, Ingrid Thulin i Gunnel Lindblom. znany z ocena pracy reżyserskiej 8, 6 94 oceny reżyser zwiń 2008 6, 5 On Set Home Movies (2008) (wideo) 2003 6, 9 Sarabanda (2003) Saraband (TV) 1 nominacja Sarabanda - 2000 6, 4 Bildmakarna (2000) (TV) 1997 6, 7 W obecności klowna (1997) Larmar och gör sig till (TV) 1995 6, 2 Ostatni (1995) Sista skriket (TV) 1993 8, 0 Backanterna (1993) (TV) 1992 6, 8 Markisinnan de Sade (1992) (TV) 1986 6, 5 Dwoje błogosławionych (1986) De Två saliga (TV) 1986 7, 6 Dokument Fanny och Alexander (1986) 1985 7, 4 Dom Juan (1985) (TV) 1984 7, 4 Po próbie (1984) Efter repetitionen (TV) 1984 6, 2 Twarz Karin (1984) Karins ansikte 1983 9, 0 Hustruskolan (1983) (TV) 1982 8, 0 Fanny i Aleksander (1982) Fanny och Alexander 1 nagroda i 4 nominacje 1980 7, 7 Z życia marionetek (1980) Aus dem Leben der Marionetten (TV) 1979 6, 9 Dokument o Faro, 1979 (1979) Fårö-dokument 1979 (TV) 1978 7, 9 Jesienna sonata (1978) Höstsonaten 1 nagroda i 1 nominacja 1977 7, 1 Jajo węża (1977) The Serpent's Egg 1976 7, 6 Twarzą w twarz (1976) Ansikte mot ansikte 1 nominacja 1976 7, 2 De fördömda kvinnornas dans (1976) (TV) 1975 7, 6 Czarodziejski flet (1975) Trollflöjten 1 nagroda i 1 nominacja 1974 8, 3 Misantropen (1974) (TV) 1973 7, 8 Sceny z życia małżeńskiego (1973) Scener ur ett äktenskap (miniserial 1973 -) 1972 7, 8 Szepty i krzyki (1972) Viskningar och rop 1 nagroda i 2 nominacje 1971 6, 8 Dotyk (1971) Beröringen 1970 7, 5 Fårödokument 1969 (1970) (TV) 1969 7, 5 Namiętności (1969) En Passion 1 nagroda 1969 7, 3 Rytuał (1969) Riten (TV) 1968 7, 6 Godzina wilka (1968) Vargtimmen 1 nagroda 1968 7, 5 Hańba (1968) Skammen 1 nagroda 1967 7, 1 Stymulacja (1967) Stimulantia "Daniel" (reżyser segmentu) 1966 8, 1 Persona (1966) 1 nagroda 1965 8, 1 Don Juan (1965) (TV) 1964 5, 8 O tych paniach (1964) För att inte tala om alla dessa kvinnor 1963 7, 7 Milczenie (1963) Tystnaden 1 nagroda 1963 7, 7 Goście Wieczerzy Pańskiej (1963) Nattvardsgästerna 1963 7, 8 Ett drömspel (1963) (TV) 1961 7, 8 Jak w zwierciadle (1961) Såsom i en spegel 1 nagroda i 1 nominacja 1960 7, 4 Diabelskie opowieści (1960) Djävulens öga 1960 7, 7 Źródło (1960) Jungfrukällan 1 nagroda i 1 nominacja 1960 7, 8 Oväder (1960) (TV) 1958 7, 6 Twarz (1958) Ansiktet 1 nagroda i 1 nominacja 1958 7, 8 Rabies (1958) (TV) 1958 7, 6 Venetianskan (1958) (TV) 1958 7, 4 U progu życia (1958) Nära livet 1 nagroda i 1 nominacja 1957 7, 8 Siódma pieczęć (1957) Det sjunde inseglet 1 nagroda i 1 nominacja 1957 7, 9 Tam, gdzie rosną poziomki (1957) Smultronstället 1 nagroda Tam, gdzie rosną poziomki - 1957 7, 5 Przybycie pana Sleemana (1957) Herr Sleeman kommer (TV) 1955 7, 2 Uśmiech nocy (1955) Sommarnattens leende 1 nagroda i 1 nominacja 1955 6, 9 Marzenia kobiet (1955) Kvinnodröm 1954 7, 1 Lekcja miłości (1954) En lektion i kärlek 1953 7, 2 Wakacje z Moniką (1953) Sommaren med Monika 1953 7, 6 Wieczór kuglarzy (1953) Gycklarnas afton 1952 7, 0 Kobiety czekają (1952) Kvinnors väntan 1951 7, 5 Letni sen (1951) Sommarlek 1950 7, 2 Ku szczęściu (1950) Till glädje 1950 5, 2 To się tu nie zdarza (1950) Sånt händer inte här 1949 7, 0 Więzienie (1949) Fängelse 1949 6, 4 Pragnienie (1949) Törst 1948 6, 3 Noc - moja przyszłość (1948) Musik i mörker 1 nominacja 1948 6, 1 Miasto portowe (1948) Hamnstad 1947 6, 7 Okręt do Indii (1947) Skepp till India land 1 nominacja 1946 5, 7 Kryzys (1946) Kris 1946 6, 5 Deszcz pada na naszą miłość (1946) Det regnar på vår kärlek scenarzysta rozwiń 2018 Sextiofyra minuter med Rebecka (2018) 2003 6, 9 Sarabanda (2003) Saraband (TV) Sarabanda - 2002 8, 1 Persona (2002) (wideo) 2000 7, 8 Wiarołomni (2000) Trolösa 1997 6, 7 W obecności klowna (1997) Larmar och gör sig till (TV) 1996 7, 5 Intymne zwierzenia (1996) Enskilda samtal (TV) 1995 6, 2 Ostatni (1995) Sista skriket (TV) 1992 6, 4 Dobre chęci (1992) Den goda viljan 1 nagroda 1992 6, 8 Markisinnan de Sade (1992) (TV) 1992 7, 1 Niedzielne dzieci (1992) Söndagsbarn 1991 6, 8 Den Goda viljan (1991) (miniserial 1991 -) 1986 7, 6 Dokument Fanny och Alexander (1986) 1984 7, 4 Po próbie (1984) Efter repetitionen (TV) 1984 6, 2 Twarz Karin (1984) Karins ansikte 1982 8, 0 Fanny i Aleksander (1982) Fanny och Alexander 1 nagroda i 1 nominacja 1980 7, 7 Z życia marionetek (1980) Aus dem Leben der Marionetten (TV) 1978 7, 9 Jesienna sonata (1978) Höstsonaten 1 nominacja 1977 7, 1 Jajo węża (1977) The Serpent's Egg 1977 6, 5 Mała nocna muzyka (1977) A Little Night Music 1976 7, 6 Twarzą w twarz (1976) Ansikte mot ansikte 1976 7, 2 De fördömda kvinnornas dans (1976) (TV) 1975 7, 6 Czarodziejski flet (1975) Trollflöjten 1973 7, 8 Sceny z życia małżeńskiego (1973) Scener ur ett äktenskap (miniserial 1973 -) 1 nagroda 1973 7, 5 The Lie (1973) (TV) 1972 7, 8 Szepty i krzyki (1972) Viskningar och rop 1 nagroda i 1 nominacja 1971 6, 8 Dotyk (1971) Beröringen 1970 8, 0 Reservatet (1970) (TV) 1970 8, 3 Play for Today (1970) (serial 1970 - 1984) 1969 7, 5 Namiętności (1969) En Passion 1969 7, 3 Rytuał (1969) Riten (TV) 1968 7, 6 Godzina wilka (1968) Vargtimmen 1968 7, 5 Hańba (1968) Skammen 1967 7, 1 Stymulacja (1967) Stimulantia 1966 8, 1 Persona (1966) 1964 5, 8 O tych paniach (1964) För att inte tala om alla dessa kvinnor 1963 7, 7 Milczenie (1963) Tystnaden 1963 7, 7 Goście Wieczerzy Pańskiej (1963) Nattvardsgästerna 1963 8, 0 Trämalning (1963) (TV) 1961 7, 8 Jak w zwierciadle (1961) Såsom i en spegel 1 nominacja 1961 7, 0 Raj (1961) Lustgården 1960 7, 4 Diabelskie opowieści (1960) Djävulens öga 1958 7, 6 Twarz (1958) Ansiktet 1958 7, 4 U progu życia (1958) Nära livet 1957 7, 8 Siódma pieczęć (1957) Det sjunde inseglet 1957 7, 9 Tam, gdzie rosną poziomki (1957) Smultronstället 1 nominacja Tam, gdzie rosną poziomki - 1957 7, 8 W świetle neonów (1957) Nattens ljus (niewymieniony w czołówce) 1956 7, 9 Ostatnia para wychodzi (1956) Sista paret ut 1955 7, 2 Uśmiech nocy (1955) Sommarnattens leende 1955 6, 9 Marzenia kobiet (1955) Kvinnodröm 1954 7, 1 Lekcja miłości (1954) En lektion i kärlek 1953 7, 2 Wakacje z Moniką (1953) Sommaren med Monika (niewymieniony w czołówce) 1953 7, 6 Wieczór kuglarzy (1953) Gycklarnas afton (niewymieniony w czołówce) 1952 7, 0 Kobiety czekają (1952) Kvinnors väntan 1951 7, 5 Letni sen (1951) Sommarlek 1951 8, 0 Rozwódka (1951) Frånskild 1950 7, 2 Ku szczęściu (1950) Till glädje 1949 7, 0 Więzienie (1949) Fängelse 1948 6, 1 Miasto portowe (1948) Hamnstad 1948 6, 4 Ewa (1948) Eva 1947 7, 5 Kobieta bez twarzy (1947) Kvinna utan ansikte 1947 6, 7 Okręt do Indii (1947) Skepp till India land 1946 5, 7 Kryzys (1946) Kris 1946 6, 5 Deszcz pada na naszą miłość (1946) Det regnar på vår kärlek 1944 7, 4 Skandal (1944) Hets na podstawie rozwiń 2015 Une histoire d'âme (2015) (TV) (sztuka) 1966 8, 1 Persona (1966) (materiały do scenariusza, historia) 1957 7, 8 Siódma pieczęć (1957) Det sjunde inseglet "Trämålning" (sztuka) 1950 9, 0 Kiedy miasto śpi (1950) Medan staden sover (pomysł) 1948 6, 4 Ewa (1948) Eva "Trumpetaren och V? r Herre" (opowiadanie) producent rozwiń 1981 7, 0 Sally i wolność (1981) Sally och friheten (producent) 1980 7, 7 Z życia marionetek (1980) Aus dem Leben der Marionetten (TV) (producent) 1979 Min älskade (1979) (producent) 1978 Rätt ut i luften (1978) (TV) (producent) 1977 6, 2 Paradistorg (1977) (producent) 1976 7, 2 De fördömda kvinnornas dans (1976) (TV) (współproducent) 1972 7, 8 Szepty i krzyki (1972) Viskningar och rop 1 nominacja (producent) 1971 6, 8 Dotyk (1971) Beröringen (producent) 1966 8, 1 Persona (1966) (producent) 1960 7, 7 Źródło (1960) Jungfrukällan (producent) 1948 6, 1 Miasto portowe (1948) Hamnstad (producent) głosy rozwiń 1973 7, 8 Sceny z życia małżeńskiego (1973) Scener ur ett äktenskap (miniserial 1973 -) (narrator) 1972 7, 8 Szepty i krzyki (1972) Viskningar och rop (narrator) (niewymieniony w czołówce) 1969 7, 5 Namiętności (1969) En Passion (narrator) (niewymieniony w czołówce) 1944 7, 4 Skandal (1944) Hets Głos w radiu (głos) (niewymieniony w czołówce) aktor rozwiń 1997 6, 7 W obecności klowna (1997) Larmar och gör sig till (TV) chory psychicznie pacjent (niewymieniony w czołówce) 1975 7, 6 Czarodziejski flet (1975) Trollflöjten Mążczyzna na audiencji 1 nagroda (niewymieniony w czołówce) 1973 7, 8 Sceny z życia małżeńskiego (1973) Scener ur ett äktenskap (miniserial 1973 -) Fotograf (niewymieniony w czołówce) 1970 7, 5 Fårödokument 1969 (1970) (TV) reporter 1969 7, 3 Rytuał (1969) Riten (TV) Ksiądz 1955 6, 9 Marzenia kobiet (1955) Kvinnodröm mężczyzna z pudlem (niewymieniony w czołówce) 1952 7, 0 Kobiety czekają (1952) Kvinnors väntan mężczyzna na schodach u ginekologa (niewymieniony w czołówce) 1950 7, 2 Ku szczęściu (1950) Till glädje Ojciec oczekujący w oddziale położniczym (niewymieniony w czołówce) 1947 6, 7 Okręt do Indii (1947) Skepp till India land mężczyzna w berecie (niewymieniony w czołówce) we własnej osobie rozwiń 2017 Kinematografen (2017) (serial 2017 -) (on sam) 2004 6, 3 Ingmar Bergman: Intermezzo (2004) (on sam) 2004 7, 6 Bergman i film / Bergman i teatr (2004) Ingmar Bergman - 3 dokumentärer om film, teater, Fårö och livet av Marie Nyreröd (TV) (on sam) 2004 10 Away from Home (2004) (wideo) (on sam) 2004 7, 5 Bergman i wyspa Faro (2004) Bergman and Faro Island (on sam) 2003 5, 5 Bergmans regi. I (2003) (TV) (on sam) 2000 6, 9 Ljuset haller mig sallskap (2000) (on sam) 1998 7, 4 Ingmar Bergman: Om liv och arbete (1998) (TV) (on sam) 1997 5, 7 Liv Ullmann scener fra et liv (1997) (on sam) 1997 Głos Bergmana (1997) Bergmans röst (on sam) 1994 Bergman: On Stage (1994) (TV) (on sam) 1990 7, 0 Bygga bilder: Anna Asp om scenografi (1990) (on sam) 1989 6, 0 Ingmar Bergman: The Magic Lantern (1989) (TV) (on sam) 1986 7, 6 Dokument Fanny och Alexander (1986) (on sam) 1981 10 Victor Sjöström (1981) (on sam) 1979 6, 0 A Look at Liv (1979) (on sam) 1978 7, 0 The Bergman File (1978) (on sam) 1977 Ingmar Bergman inszeniert (1977) (TV) (on sam) 1976 Tre scener med Ingmar Bergman (1976) (on sam) 1963 7, 4 Ingmar Bergman gör en film (1963) (TV) (on sam) archiwalne rozwiń 2018 7, 3 Bergman - Rok z życia (2018) Bergman - Ett år, ett liv (on sam) 2012 7, 5 Liv & Ingmar (2012) (zdjęcia) (on sam) 2012 7, 4 Palme (2012) (zdjęcia) (on sam) 2009 7, 3 Hollywood sul Tevere (2009) (on sam) 2009 5, 0 Bilder från lekstugan (2009) (zdjęcia) (on sam) 2008 6, 5 On Set Home Movies (2008) (wideo) (zdjęcia) (on sam) 2006 7, 6 Ekran zwany pożądaniem (2006) Un écran nommé désir (TV) (zdjęcia) (on sam) 2005 7, 3 Cineastes en acció (2005) (zdjęcia) (on sam) 2004 4, 5 Hour of the Wolf: The Search for Sanity (2004) (wideo) (on sam) 2000 8, 0 Fellini opowiada (2000) Federico Fellini - un autoritratto ritrovato (zdjęcia) (on sam) 1996 7, 3 Cinema Europe: The Other Hollywood (1996) (miniserial 1996 -) (zdjęcia) (on sam) 1978 7, 7 The South Bank Show (1978) (serial 1978 -) (zdjęcia) (on sam) zdjęcia rozwiń 2009 5, 0 Bilder från lekstugan (2009) 1967 7, 1 Stymulacja (1967) Stimulantia Zmarł w swoim domu na wyspie Faaroe u północnych wybrzeży Gotlandii (Szwecja). Pochowano go na Fårö Churchyard (Szwecja). W latach 70. Bergman, został oskarżony o malwersacje podatkowe i aresztowany. Reżyser doznał załamania nerwowego i trafił do szpitala psychiatrycznego, następnie musiał uciekać ze Szwecji, by uniknąć więzienia. Ukończył literaturę i historię sztuki na Uniwersytecie w Sztokholmie. Ze związku z  Liv Ullmann ma córkę Linn (ur. 09. 08. 1966).

Ingmar bergman bio. Ingmar burgman. Ingmar bergman gif. Ingmar bergman images.