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, 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." 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 ....It's impossible to overestimate the effect that those films had on people. It's not that Bergman was the first film artist to confront serious themes. It's that he worked in a symbolic and an emotional language that was serious and accessible. He was young, he was setting an incredible pace, but he was looking at memory, old age, the reality of death, the reality of cruelty, and it was so vivid. So dramatic. Bergman's connection with the audience was somewhat like Hitchcock's – direct, immediate."
Bergman during production
of Wild Strawberries (1957)
Ernst Ingmar Bergman
14 July 1918
|Died||30 July 2007 (aged 89)|
|Other names||Buntel Eriksson|
Ingmar Bergman was born in Uppsala, Sweden, 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 ancestors. 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. 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."
Bergman attended Palmgren's School as a teenager. His school years were unhappy, 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), the school's principal Henning Håkanson wrote, among other things, that Bergman had been a "problem child". 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. 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". Bergman commented that "Hitler was unbelievably charismatic. He electrified the crowd. ... The Nazism I had seen seemed fun and youthful". Bergman did two five-month stretches in Sweden of mandatory military service.
He entered 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". At the same time, a romantic involvement led to a pugilistic confrontation with his father which resulted in a break which lasted for years. Although he did not graduate, he wrote a number of plays and an opera, and became an assistant director at a 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.
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. 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". 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." 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. His parody of the films of Federico Fellini, All These Women (För att inte tala om alla dessa kvinnor) was released in 1964.
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. 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).
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". 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.
Even though 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.
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. 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.
Bergman retired from filmmaking in December 2003. He had a hip surgery in October 2006 and was making a difficult recovery. He died in his sleep at age 89; his body was found at his home on the island of Fårö, on 30 July 2007. (It was the same day another renowned existentialist film director, Michelangelo Antonioni, also 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.
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.
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.)
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.
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. 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. 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."
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, Persona, and Cries and Whispers 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 and could not watch them anymore. 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.
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. A complete list of Bergman's work in theatre can be found under "Stage Productions and Radio Theatre Credits" at Ingmar Bergman filmography.
Bergman was married five times:
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.
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"). 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.
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."
|2012||The Image Maker||Ingmar Bergman|
|2012||The Man Who Asked Hard Questions||Ingmar Bergman|
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.
Quotations related to Ingmar Bergman at Wikiquote
Media related to Ingmar Bergman at Wikimedia Commons
Autumn Sonata (Swedish: Höstsonaten, German: Herbstsonate) is a 1978 Swedish drama film written and directed by Ingmar Bergman, and starring Ingrid Bergman (in her final film role), Liv Ullmann and Lena Nyman. It tells the story of a celebrated classical pianist who is confronted by her neglected daughter. All his films from this point, even those eventually shown in theatres, were television productions. It is generally well-regarded by critics.Crisis (1946 film)
Crisis (Swedish: Kris) is a 1946 Swedish film directed by Ingmar Bergman. The film was Bergman's first feature as director and he also wrote the screenplay, based on the Danish radio play Moderhjertet (translated as The Mother Animal, A Mother's Heart, The Mother Creature, and The Maternal Instinct) by Leck Fischer.Face to Face (1976 film)
Face to Face (Swedish: Ansikte mot ansikte) is a 1976 Swedish psychological drama film written and directed by Ingmar Bergman. It tells the story of a psychiatrist who is suffering from a mental illness. It stars Liv Ullmann and Erland Josephson.
It is also the film debut of Lena Olin.Hour of the Wolf
Hour of the Wolf (Swedish: Vargtimmen, lit. 'The Wolf Hour') is a 1968 Swedish psychological horror film directed by Ingmar Bergman and starring Max von Sydow and Liv Ullmann. The story explores the disappearance of fictional painter Johan Borg (von Sydow), who lived on an island with his wife Alma (Ullmann) while plagued with frightening visions and insomnia.
Bergman originally conceived much of the story as part of an unproduced screenplay, The Cannibals, which he abandoned to make the 1966 film Persona. He took inspiration from Wolfgang Amadeus Mozart's opera The Magic Flute and E. T. A. Hoffmann's novella The Golden Pot, as well as some of his own nightmares. Principal photography took place at Hovs Hallar, Stockholm and Fårö.
Themes include insanity, particularly as experienced by an artist, sexuality, and relationships, conveyed in a surreal style and with elements of folklore. Analysts have found allusions to vampire and werewolf legend. Authors have also connected the work to Bergman's life and his relationship with Ullmann; Bergman said he was experiencing his own "hour of the wolf" when he conceived the story.
The film was initially met with negative reviews in Sweden. In later years Hour of the Wolf received generally positive reviews and was ranked one of the 50 greatest films ever made in a 2012 directors' poll by the British Film Institute. The film was followed by Bergman's thematically related films Shame (1968) and The Passion of Anna (1969). Ullmann won awards in 1968 for her performances in both Hour of the Wolf and Shame.Ingmar Bergman Award
The Ingmar Bergman Award was a Swedish film award, distributed between 1978 and 2007. It was instituted by legendary Swedish film director Ingmar Bergman, as a complement to the Guldbagge Awards. The jury consisted of Ingmar Bergman and the CEO of the Swedish Film Institute. The recipients were awarded a bronze plaque, depicting Bergman's face, and a sum of money. The award was first presented at the 14th Guldbagge Awards, and continued until Bergman's death in 2007.Ingmar Bergman Makes a Movie
Ingmar Bergman Makes a Movie (Swedish: Ingmar Bergman gör en film) is a 1963 Swedish documentary film directed by Vilgot Sjöman which depicts the making of Ingmar Bergman's film Winter Light from screenwriting to the film's premiere and critical reaction.
The film originally aired in five half-hour episodes on Swedish television. It has subsequently been included in a bonus disc of The Criterion Collection's box set of Bergman's "trilogy," Through a Glass Darkly (1961), Winter Light, and The Silence (1963).Ingmar Bergman bibliography
A list of books and essays about Ingmar Bergman:
Bergman, Ingmar (2011). Images: My Life in Film. Arcade Publishing. ISBN 978-1-61145-041-5.
Gado, Frank (1986). The Passion of Ingmar Bergman. Duke University Press. ISBN 0-8223-0586-0.
Gervais, Marc (1999). Ingmar Bergman: Magician and Prophet. McGill-Queen's Press - MQUP. ISBN 978-0-7735-2004-2.
Michaels, Lloyd (2000). Ingmar Bergman's Persona. Cambridge University Press. ISBN 978-0-521-65698-6.
Shargel, Raphael (2007). Ingmar Bergman: Interviews. Univ. Press of Mississippi. ISBN 978-1-57806-218-8.Ingmar Bergman filmography
Ingmar Bergman was a Swedish screenwriter and film director. Between 1944 and 2003 he directed 45 feature films and wrote many screenplays for others. He was also a playwright and theatre director, and he simultaneously worked extensively in theatre throughout his film career.Port of Call (1948 film)
Port of Call (Swedish: Hamnstad, lit. 'Port Town') is a 1948 Swedish drama film directed by Ingmar Bergman.Prison (1949 film)
Prison (Swedish: Fängelse), also known as The Devil's Wanton in the United States, is a 1949 Swedish drama film directed by Ingmar Bergman. It is the earliest film directed by Bergman to be based on his own original screenplay.Sawdust and Tinsel
Sawdust and Tinsel (Swedish: Gycklarnas afton, lit. 'The Evening of the Jesters') is a 1953 Swedish drama film directed by Ingmar Bergman.Scenes from a Marriage
Scenes from a Marriage (Swedish: Scener ur ett äktenskap) is a 1973 Swedish Television miniseries written and directed by Ingmar Bergman and starring Liv Ullmann and Erland Josephson. The story explores the disintegration of the marriage between Marianne, a family lawyer specializing in divorce, and Johan, spanning a period of 10 years. Bergman's teleplay draws on his own experiences, including his relationship with Ullmann. It was shot on a small budget in Stockholm and Fårö in 1972.
After initially airing on Swedish TV in six parts, the miniseries was condensed into a theatrical version and received positive reviews in Sweden and internationally. Scenes from a Marriage was also the subject of controversy for its perceived influence on rising divorce rates in Europe. The film was ineligible for the Academy Award for Best Foreign Language Film, but won the Golden Globe Award for Best Foreign Language Film and several other honours.
The miniseries and film version influenced filmmakers such as Woody Allen and Richard Linklater. It was followed by a sequel, Saraband, in 2003, and stage adaptations.The Devil's Eye
The Devil's Eye (Swedish: Djävulens öga) is a 1960 Swedish fantasy-comedy film written and directed by Ingmar Bergman.The Magician (1958 film)
Ansiktet (Swedish: "The Face") is a 1958 Swedish film written and directed by Ingmar Bergman. The original United Kingdom title was The Face.
The film stars Max von Sydow as a traveling magician named Albert Vogler. Reading reports of a variety of supernatural disturbances at Vogler's prior performances abroad, the leading townspeople request that Vogler's troupe provide them with a performance of their act, before allowing them before public audiences. The scientifically minded disbelievers try to expose them as charlatans, but Vogler has a few tricks up his sleeve.
The film was distantly inspired by G. K. Chesterton's play Magic, which Bergman numbered among his favourites. Bergman staged a theatre production of "Magic" in Swedish at one point. The film was selected as the Swedish entry for the Best Foreign Language Film at the 31st Academy Awards, but was not accepted as a nominee.The Passion of Anna
The Passion of Anna (Swedish: En passion – "A passion") is a 1969 Swedish drama film written and directed by Ingmar Bergman, who was awarded Best Director at the 1970 National Society of Film Critics Awards for the film.The Seduction of Ingmar Bergman
The Seduction of Ingmar Bergman is the 22nd album by American rock group Sparks, released in August 2009. The duo's first work in the radio musical or pop opera genre, the album is built around an imaginary visit to Hollywood by Swedish film director Ingmar Bergman in the mid-1950s. Its storyline focuses on the divides between European and American culture, between art and commerce. Unlike other Sparks albums, the work is conceived as a single piece, to be listened to as a whole, rather than a collection of stand-alone songs.
The work was commissioned by Sveriges Radio Radioteatern, the radio drama department of Sweden's national radio broadcaster. First released in the Swedish broadcast version in August 2009, with an English-language version following in November 2009, it features a cast of Swedish and American actors and a variety of musical styles ranging from opera to vaudeville and pop. The album's recording was a collaborative effort – while the music and English vocals were recorded by Sparks in the United States, the album's Swedish vocals were recorded by Sveriges Radio in Stockholm, and then sent to the Maels via an FTP server. The album and its ambitious dramatic concept received favourable reviews, and the Mael brothers have said that they are planning both a live show and a film version of the musical.Through a Glass Darkly (film)
Through a Glass Darkly (Swedish: Såsom i en spegel, lit. 'As in a Mirror') is a 1961 Swedish family drama film written and directed by Ingmar Bergman, and starring Harriet Andersson, Gunnar Björnstrand, Max von Sydow and Lars Passgård. The film tells the story of a young woman with schizophrenia spending time with her family on a remote island, and having delusions about meeting God, who appears to her in the form of a monstrous spider.
Bergman structured the film as a three-act play, drawing on his personal experiences and relationships. The film was his first of several shot on Fårö. He also explored his ideas of God being love in the film, incorporating the music of Johann Sebastian Bach. Themes include exploitation in art, psychosis and sexuality, and the struggle of reconciling belief in God with human suffering.
Through a Glass Darkly was released to positive reviews, specifically for Andersson's performance, and won the Academy Award for Best Foreign Language Film. It was followed by Bergman's thematically related 1963 films Winter Light and The Silence.Wild Strawberries (film)
Wild Strawberries is a 1957 Swedish drama film written and directed by Ingmar Bergman. The original Swedish title is Smultronstället, which literally means "The wild strawberry patch" but idiomatically signifies an underrated gem of a place, often with personal or sentimental value. The cast includes Victor Sjöström in his final screen performance as an old man recalling his past, as well as Bergman regulars Bibi Andersson, Ingrid Thulin and Gunnar Björnstrand. Max von Sydow also appears in a small role. Bergman wrote the screenplay while hospitalized. Exploring philosophical themes such as introspection and human existence, Wild Strawberries is often considered to be one of Bergman's greatest and most moving films.Winter Light
Winter Light (Swedish: Nattvardsgästerna, lit. 'The Communicants') is a 1963 Swedish drama film written and directed by Ingmar Bergman and starring Bergman regulars Gunnar Björnstrand, Ingrid Thulin and Max von Sydow. The film follows Tomas Ericsson (Björnstrand), pastor of a small rural Swedish church, as he deals with an existential crisis and his Christianity.
The film is the second in a series of thematically related films, following Through a Glass Darkly (1961) and followed by The Silence (1963), which is sometimes considered a trilogy. In it, Bergman reconsidered Through a Glass Darkly's argument that God is love, and repeated the prior film's reference to God as a monstrous spider.
Bergman formed the story after speaking to a clergyman whose follower committed suicide. It was shot in different locations in Sweden in 1962. Vilgot Sjöman's film Ingmar Bergman Makes a Movie was made simultaneously with Winter Light and documents its production. The feature received positive reviews.
Awards for Ingmar Bergman
Ingmar Bergman's Smiles of a Summer Night