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Ingmar Bergman

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Ingmar Bergman
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Ingmar Bergman

Ingmar Bergman Template:Audio (pronounced in Swedish, but usually in American English, IPA in Unicode notation) (born July 14, 1918) is a Swedish film director.

Contents

Biography and style characteristics

Born in Uppsala, Sweden, to a Lutheran minister, Bergman grew up surrounded by religious imagery and discussion. Bergman attended the Stockholm University and became interested in theater, and later in cinema. His films usually deal with existential questions about mortality, loneliness, and faith; they are also usually direct and not overtly stylized. Persona, one of Bergman's most famous films, is unusual among Bergman's work for being both existentialist and avant-garde.

As a director, Bergman favors intuition over intellect, and chooses to be unaggressive in dealing with actors. Bergman sees himself as having a great responsibility toward them, whom he views as collaborators in a psychologically vulnerable position. He states that a director must be both honest and supportive to allow others their best work.

Bergman usually writes his own scripts, thinking about them for months or years before starting the actual process of writing, which he views as somewhat tedious. His earlier films are carefully structured, and are either based on plays or written with other authors, usually as a matter of convenience. Bergman states that in his later works, when his characters sometimes start wanting to do things different from what he had intended, he lets them, calling the results "disastrous" when he doesn't. Throughout his career, Bergman increasingly lets his actors improvise their dialogue. In his latest films, he has written just the ideas behind the dialogue, keeping in mind the general direction he thinks it should take.

Bergman developed a personal "repertory company" of Swedish actors whom he repeatedly cast in his films, including Max von Sydow, Bibi Andersson, Harriet Andersson, Gunnar Bjrnstrand, Erland Josephson, and the late Ingrid Thulin. Norwegian actress Liv Ullmann was the last to join this group (in the 1966 film Persona), and ultimately became most closely associated with Bergman, both artistically and personally.

Bergman began working with Sven Nykvist, his cinematographer, in 1953. The two of them have sufficient rapport to allow Bergman to not worry about the composition of a shot until the day before it is filmed. On the morning of the shoot, he speaks to Nykvist briefly about the mood and composition he hopes for, and then leaves him to work without interruption or comment until they discuss the next day's work.

When viewing daily rushes, Bergman stresses the importance of being critical but unemotional, claiming that he asks himself not if the work is great or terrible, but if it is sufficient or if it needs to be reshot.

Bergman encourages young directors not to direct any film that does not have a "message," but to wait until one comes along that does, yet admits himself that he is not always sure of the message of some of his films. By Bergman's own accounts, he has never had a problem with funding. He cites two reasons for it: 1, that he does not live in the United States, which he views as obsessed with box-office earnings; and 2, that his films tend 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 left Sweden for Munich when accused of tax evasion. Though he was later cleared of the charges, he remained in Munich and did not film again in Sweden until 1982. In 1982 he directed Fanny and Alexander. Bergman stated that the film would be his last, and that afterwards he would focus on directing theater. Since then he has directed a number of television specials and written several additional scripts, though he does continue to work in theater. In 2003, Bergman, at 86 years old, directed a new film, Saraband, that many say is one of his best.

When asked about his movies, he says he holds Persona and Cries and Whispers highest in regard, though in an interview in 2004, Bergman said that he is 'depressed' by his own films and cannot watch them anymore. [1] (http://news.bbc.co.uk/1/hi/entertainment/film/3616037.stm) In these films, he says, he managed to push the medium to its limit. He has denounced the critical classification of three of his films (Through a Glass Darkly, Winter Light and The Silence) as a trilogy: he had no intention of connecting them, and cannot see any common motifs in them.

In 1970, Bergman received The Irving G. Thalberg Memorial Award at the Academy Awards ceremony.

Filmography

Screenwriting Works

Documentary Works

See also

External links and references

  • Bergman on Bergman: Interviews with Ingmar Bergman. By Stig Bjrkman, Torsten Manns, and Jonas Sima; Translated by Paul Britten Austin. Simon & Schuster, New York. Swedish edition copyright 1970, English translation (c) 1973.
  • Filmmakers on filmmaking : the American Film Institute seminars on motion pictures and television. Edited by Joseph McBride. Boston, Houghton Mifflin Co., (c) 1983.
  • Images: my life in film. Ingmar Bergman. Translated by Marianne Ruuth. New York : Arcade Pub. (c) 1994. ISBN 1559701862
  • A presentation of Ingmar Bergman (http://www.sweden.se/templates/cs/BasicFactsheet____4400.aspx) from the website Sweden.se.
  • Template:Imdb namebg:Ингмар Бергман

da:Ingmar Bergman de:Ingmar Bergman es:Ingmar Bergman eo:Ingmar BERGMAN fr:Ingmar Bergman io:Ingmar Bergman it:Ingmar Bergman he:אינגמר ברגמן hu:Ingmar Bergman nl:Ingmar Bergman nds:Ingmar Bergman ja:イングマール・ベルイマン no:Ingmar Bergman pl:Ingmar Bergman pt:Ingmar Bergman ro:Ingmar Bergman ru:Бергман, Эрнст Ингмар fi:Ingmar Bergman sv:Ingmar Bergman tr:Ingmar Bergman uk:Берґман Інґмар zh:英格玛·伯格曼

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