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Ingmar Bergman |
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Director / Screenwriter /
Producer |
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1918 - 2007 |
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Born July 14,
Uppsala, Uppland, Sweden |
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Key
Production Countries: Sweden , Germany |
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Key Genres: Drama, Psychological Drama, Family Drama, Marriage Drama,
Reunion Films,
Ensemble Film, Period Film |
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Key
Collaborators: Sven
Nykvist (Cinematographer), Erland
Josephson (Leading Character Player), P.A. Lundgren (Production Designer), Max von Sydow
(Leading Player), Gunnar Bjornstrand (Leading Character Player), Allan Ekelund (Producer), Bibi Andersson (Leading Character Player), Liv Ullmann (Leading Player),
Ingrid Thulin (Leading
Player), Erik Nordgren
(Composer) |
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Highly
Recommended: Wild
Strawberries (1957)*, Cries
and Whispers (1972)* |
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Recommended: Sawdust and Tinsel (1953)*, Smiles
of a Summer Night (1955)*, The Seventh Seal (1957)*, The Virgin Spring
(1959)*, Through a Glass Darkly (1962), Winter Light
(1962)*, Persona (1966)*, Shame
(1968),
The Passion of Anna
(1969)*, Scenes from a Marriage
(1973)*, Fanny and Alexander (1982)*, Saraband (2003)^ |
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Worth a Look: The
Devil's Wanton (1949), To Joy (1950), Illicit Interlude (1951), Summer with Monika
(1952), Brink of Life (1958), The Magician (1958), The Silence (1963)*,
Hour of the Wolf (1967)*, The Magic Flute
(1974), Autumn Sonata (1978), From the Life of the Marionettes (1980),
After the Rehearsal (1984) |
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Approach with Caution:
The Touch (1971), In the Presence of a Clown [TV] (1997) |
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* Listed in TSPDT's
1,000 Greatest Films
section; ^
Listed in TSPDT's
21st Century's Most Acclaimed Films
section. |
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Links:
[
Amazon
] [
IMDB ]
[
TCMDB
] [
All-Movie
Guide ] [
Senses
of Cinema: Great Directors ] [
Film Reference ] [
Ingmar
Bergman Face to Face ] [
Ingmar Bergman
Biography ] [
Bergmanorama ] [
Derek
Malcolm's Century of Films: Wild Strawberries ] [
Bright
Lights Film Journal Article ] [
Guardian
Article (2005) ] [
Strictly Film School ] [
Ingmar Bergman Foundation ] [
Baseline
Biography ] [
Wikipedia ] [
Guardian Unlimited Article (2007) ] [
New York Times Article (2007) ] [
Washington Post Article (2007) ] [
The Criterion Collection ] [
Sweden.se Biography ] [
Playboy Interview (1964) ] [
Guardian Articles (2007)
] [
1971 Interview ] [
New York Times Article
(2007) ] [
Roger Ebert.com (2007) ]
[
Ingmar
Bergman Fansite ] [
Washington Times Article (2008) ] |
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Books: [
The Magic Lantern: An Autobiography ] [
The Ingmar Bergman Archives ] [
Ingmar Bergman, Cinematic Philosopher: Reflections
on His Creativity ] [
Ingmar Bergman: The Life and Films of the Last
Great European Director ] [
Ingmar
Bergman: His Life and Films ] [
The
Passion of Ingmar Bergman ] [
The
Rite of Redemption: An Interpretation of the Films of Ingmar Bergman ] [
The Films of Ingmar Bergman (Cambridge Film Classics) ] [
Ingmar Bergman: A Reference Guide ] [
Ingmar Bergman: Magician and Prophet
] [
Images: My Life In Film ] [
Ingmar Bergman: A Critical Biography ] [
Ingmar Bergman: Interviews (Conversations with Filmmakers Series) ] |
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"Bergman
has never set out to be less than demanding; and as an artist
his greatest achievement is in digesting such unrelenting
seriousness until he sees no need to bludgeon us with
it...Bergman has seen no reason to abandon his faith in a select
audience, prepared and trained for a diligent intellectual and
emotional involvement with cinema." -
David
Thomson (The New Biographical Dictionary of Film, 2002)
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"Although
he may be faulted for an occasional cold, humourless pessimism
that may seem contrived, both his intellectual gravity and his
uncompromising devotion to cinema as a serious art form are
undeniable." -
Geoff
Andrew (The Film Handbook, 1989) |
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"Bergman's
unique international status as a filmmaker would seem assured on
many grounds; his prolific output of largely notable work; the
profoundly personal nature of his best films since the 1950s;
the innovative nature of his technique combined with its
essential simplicity even when employing surrealistic and
dream-like treatments; his creative sensitivity in relation to
his players; and his extraordinary capacity to evoke
distinguished acting from his regular interpreters." -
Roger
Manvell (International Dictionary of Films and Filmmakers,
1991)
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"Human laughter, sorrow, joy, and anxiety are analyzed and
compellingly illustrated by Bergman, one of the great directors." -
William R. Meyer (The Film Buff's Catalog, 1978) |
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"Film as
dream, film as music. No art passes our conscience in the way
film does, and goes directly to our feelings, deep down into the
dark rooms of our souls." -
Ingmar Bergman |
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"I write
scripts to serve as skeletons awaiting the flesh and sinew of
images." - Ingmar Bergman |
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Please
note that the rating given for this director (see top-right) is based
only on the films we have seen (listed above). Films by this director that we
haven't seen include It Rains on Our Love (1946), A Ship to
India (1947), Music in Darkness (1948), Port of Call
(1948), Three Strange Loves (1949), Secrets of Women
(1952), A Lesson in Love (1954), Dreams (1955), The Devil's Eye (1960),
All These Women (1964), Face to Face (1976), and The Serpent's Egg
(1978). |
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"What,
then, is this place that is the human condition? What does
this moral landscape look and feel like, what are its most
basic features and laws? Bergman’s “reduction” reveals our
lives as moral and spiritual beings
to be constituted by six fundamental kinds of experience and
their interrelationships. These occur throughout Bergman’s
films in many variations and combinations. Sometimes all are
present, sometimes only a few. They are the seminal moments
of judgment, abandonment, passion, turning, shame, and
vision. Together they delineate the kind of journey life is
and the kind of road it must travel. They are the “plot
points” through
which all of Bergman’s stories develop, and they provide the
framework for understanding Bergman’s films and his
achievement as artist and “filmic metaphysician.”
-
Jesse Kalin, The Films of Ingmar
Bergman |
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●
Top 250 Directors |
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●
100 Essential Directors (Pop
Matters) |
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The 13th Most
Influential Director of All Time (2002 MovieMaker
Poll) |
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Survey of Filmmakers:
Top 25 Directors (2005 poll by The Film Journal) |
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Gerald Peary's Magnificent Seven (2006) |
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One
of the twelve greatest living narrative filmmakers - Jonathan
Rosenbaum (Placing Movies: The Practice of Film
Criticism, 1993) |
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Robin Buss' Top 10 Directors |
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501 Movie Directors: A
Comprehensive Guide to the Greatest Filmmakers |
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See Also |
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Woody
Allen |
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Robert
Altman |
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Michelangelo
Antonioni |
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Robert
Bresson |
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Carl
Dreyer |
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Krzysztof
Kieslowski |
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Akira
Kurosawa |
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Jean
Renoir |
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Eric
Rohmer |
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Andrei
Tarkovsky |
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Liv Ullmann (External Link) |
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Luchino
Visconti |
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Ingmar Bergman's Favourites |
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Andrei Rublev (1966)
Andrei Tarkovsky,
Bang! (1977)
Jan Troell,
Dark Eyes (1987)
Nikita Mikhalkov,
The Emigrants (1971)
Jan Troell,
Great Expectations (1946)
David Lean,
Hamsun (1996)
Jan Troell,
The Last Laugh (1924)
F.W. Murnau,
Mr. Hulot's Holiday (1953)
Jacques Tati,
The Passion of Joan of Arc (1928)
Carl Dreyer,
The Phantom Carriage (1920)
Victor Sjöström,
The Phantom of the Moulin Rouge (1925)
René Clair,
Sunrise (1927)
F.W. Murnau,
Tabu (1931)
F.W. Murnau,
Tous les matins du monde (1992) Alain Corneau. |
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