Ingmar Bergman

Not to be confused with Ingrid Bergman.
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
Occupation Film director, producer, screenwriter
Years active 1944–2005
Spouse(s)
Awards
Signature

Ernst Ingmar Bergman (Swedish pronunciation: [ˈɪŋmar ˈbærjman]; 14 July 1918 – 30 July 2007) was a Swedish director, writer and producer who worked in film, television, and theatre. He is recognized as one of the most accomplished and influential auteurs of all time[1] and is most famous for films such as The Seventh Seal (1957), Wild Strawberries (1957), Persona (1966), Cries and Whispers (1972), and Fanny and Alexander (1982).

He directed over sixty films and documentaries for cinematic release and for television, most of which he also wrote. He also directed over 170 plays. From 1953, he forged a powerful creative partnership with his full-time cinematographer 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 his country, and numerous films from Through a Glass Darkly (1961) onward were filmed on the island of Fårö. His work often dealt with death, illness, faith, betrayal, bleakness and insanity.

Early life

A young Bergman

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[2] ancestors.[3] 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 parenting concepts. 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 at age eight and only came to terms with this fact while making Winter Light in 1962.[4] Bergman’s 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."[5][6]

In 1934, aged 16, he was sent to Germany to spend the summer vacation with family friends. He attended a Nazi rally in Weimar at which he saw Adolf Hitler.[7] He later wrote in Laterna Magica (The Magic Lantern) about the visit to Germany, describing how the German family had put a portrait of Adolf 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".[8] Bergman commented that "Hitler was unbelievably charismatic. He electrified the crowd. ... The Nazism I had seen seemed fun and youthful".[9] Bergman did two five-month stretches of mandatory military service.[10]

In 1937, he entered Stockholm University College (later renamed Stockholm University), to study art and literature. He spent most of his time involved in student theatre and became a "genuine movie addict".[11] At the same time, a romantic involvement led to a break with his father that lasted for years. Although he did not graduate, he wrote a number of plays, as well as an opera, and became an assistant director at a theatre. In 1942, he was given the chance 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. In 1943, he married Else Fisher.

Career

Film work

Bergman’s film career began in 1941 with his rewriting of scripts, but his first major accomplishment was in 1944 when he wrote the screenplay for Torment/Frenzy (Hets), a film directed by Alf Sjöberg. Along with writing the screenplay, he was also given position as assistant director to the film. In his second autobiographical work, Images: My Life in Film, Bergman describes the filming of the exteriors as his actual film directorial debut.[12] 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 The Devil’s Wanton/Prison (Fängelse) in 1949 as well as The Naked Night/Sawdust and Tinsel (Gycklarnas afton) and Summer with Monika (Sommaren med Monika), both from 1953.

Ingmar Bergman and Victor Sjöström on the set of Wild Strawberries (1957)

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 Swedish 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 have adopted the notion, with some equivocation.[13][14] In 1964 he made a parody of Fellini with All These Women (För att inte tala om alla dessa kvinnor).[15]

In 1966, he directed Persona, a film that he himself considered one of his most important works. While the shockingly experimental film won few awards, many consider it his masterpiece. Other notable films of the period include The Virgin Spring (Jungfrukällan, 1960), Hour of the Wolf (Vargtimmen, 1968), Shame (Skammen, 1968) and A Passion/The Passion of Anna (En Passion, 1969). Bergman 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).

After his arrest in 1976 for tax evasion, Bergman swore he would never again make films in Sweden. He shut down his film studio on the island of Fårö and went into self-imposed exile. He briefly considered the possibility of working in America and his next film, The Serpent’s Egg (1977) was a German-U.S. production and his second English-language film (the first being 1971’s The Touch). This was followed a year later with a British-Norwegian co-production of Autumn Sonata (Höstsonaten, 1978) starring Ingrid Bergman. The one other film he directed was From the Life of the Marionettes (Aus dem Leben der Marionetten, 1980) a British-German co-production.

In 1982, he temporarily returned to his homeland to direct Fanny and Alexander (Fanny och Alexander). 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 TV, some of these productions were later released in theatres. The last such work was Saraband (2003), a sequel to Scenes from a Marriage and directed by Bergman when he was 84 years old.

Ingmar Bergman with his long-time cinematographer Sven Nykvist during the production of Through a Glass Darkly (1960)

Repertory company

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, Bengt Ekerot, Anders Ek, 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 1966 film Persona), and ultimately became most closely associated with Bergman, both artistically and personally. They had a daughter together, Linn Ullmann (born 1966).

Bergman began working with Sven Nykvist, his cinematographer, in 1953. The two developed and maintained a working relationship of 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

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.)[16]

Technique

Bergman usually wrote his own 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 latest 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 is great or terrible, but if it is sufficient or if it needs to be reshot.[16]

Bergman and actress Ingrid Thulin during the production of The Silence (1963)

Subjects

Bergman’s films usually deal with existential questions of mortality, loneliness, and religious faith. While these topics could seem cerebral, sexual desire found its way to the foreground of most of his films, whether the setting was a 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 the men, and unafraid to proclaim it, sometimes with breathtaking overtness (e.g., Cries and Whispers) as would define the work of "the conjurer," as Bergman called himself in a 1960 Time Magazine cover story.[17] 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.

Bergman’s views on his career

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 he held Winter Light,[18] 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.[19] In the same interview he also states:" If there is one thing I miss about working with films, it is working with Sven" (Nykvist), his 3rd camera man.

Theatrical work

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 Stockholm University, 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, and a number of people in the "Bergman troupe" of his 1960s films came from Malmö’s city theatre (Max von Sydow, for example). 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.

Tax evasion charges

On 30 January 1976, while rehearsing August Strindberg’s 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 break-down as a result of the humiliation and was hospitalized 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".[20] 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.[21]

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 again in Sweden. 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.[22]

Return

Although he continued to operate from Munich, by mid-1978 Bergman had overcome some of his bitterness toward the government of Sweden. In July of that year he visited Sweden, celebrating his sixtieth birthday at 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.[23] Still, he remained in Munich until 1984. In one of the last major interviews with Bergman, conducted in 2005 at Fårö Island, Bergman said that despite being active during the exile, he had effectively lost eight years of his professional life.[24]

Bergman retired from filmmaking in December 2003. He had hip surgery in October 2006 and was making a difficult recovery. He died peacefully in his sleep,[25] at his home on Fårö, on 30 July 2007, at the age of 89,[26] the same day that another renowned film director, Michelangelo Antonioni, also died. He was buried in the cemetery of Fårö Church on 18 August 2007 in a private ceremony. 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.

Unreleased projects

When 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").[27] 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.[27]

Family

The grave of Ingmar Bergman and his last wife, Ingrid von Rosen

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 Liv Ullmann. In all, Bergman had nine children, one of whom predeceased him. Bergman was eventually married to all of the mothers except Liv Ullmann, but his daughter with his last wife, Ingrid von Rosen, was born twelve years before their marriage.

Critique and influence

Bust of Ingmar Bergman in Celebrity Alley in Kielce, Poland

Many filmmakers have praised Bergman and some have also cited his work as an influence on their own:

Popular culture

A Bergman-themed parody spoofs the allegory of cheating death (Bergman’s The Seventh Seal) in the sketch comedy show Saturday Night Live season 1 (ep. 23, 24 July 1976). The sketch, titled “Swedish Movie”, is somberly narrated in the third-person by a Swedish-speaking Death (Tom Schiller) with English subtitles scrolling. The baleful voice-over dialogue, revealed to be emanating from the apparition of Death personified, imposes upon dreamily preoccupied lovers Sven (Chevy Chase) and Inger (Louise Lasser) who send a not-so-silently jeering Death out for pizza.

Monty Python’s The Meaning of Life includes a sketch based on The Seventh Seal in which middle-class weekenders at an isolated farmhouse are visited by The Grim Reaper.

A television spoof of Persona appeared in an episode of the Canadian comedy series SCTV in the late 1970s.[49] SCTV later aired another Bergman parody, this time of Scenes From A Marriage that featured actor Martin Short portraying comedian Jerry Lewis as the star of a fictional Bergman film called Scenes From An Idiot's Marriage.[50]

Bill and Ted’s Bogus Journey includes a further spoof on the theme of playing games with Death from Bergman’s The Seventh Seal. Bill and Ted are set to play a game with Death. Rather than chess, they play checkers. When Bill and Ted win, Death challenges them to a best of three match, wherein they play Battleship and other games from popular culture.

The Muppets franchise had a spoof of Bergman’s style in a segment entitled "Silent Strawberries" from the TV special, The Muppets Go to the Movies.[51]

Filmography

Awards

Academy Awards

In 1971, Bergman received the Irving G. Thalberg Memorial Award at the Academy Awards ceremony. Three of his films won the Academy Award for Best Foreign Language Film. The list of his nominations and awards follows:

BAFTA Awards

Berlin Film Festival

Cesar Awards

Cannes Film Festival

Golden Globe Awards

Guldbagge Awards

Other awards and honours

Exhibitions

See also

References

  1. ↑ Rothstein, Mervyn (30 July 2007). "Ingmar Bergman, Famed Director, Dies at 89". New York Times. 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.
  2. ↑ Frank Gado, The Passion of Ingmar Bergman, Duke University Press (1996), p. 374.
  3. ↑ 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, accessed 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 USA 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, accessed 8 June 2011).
  4. ↑ The Films of Ingmar Bergman, by Jesse Kalin, 2003, p. 193.
  5. ↑ "Ingmar Bergman, Master Filmmaker, Dies at 89" by Mervyn Rothstein, New York Times, 31 July 2007.
  6. ↑ 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".
  7. ↑ Jerry Vermilye, Ingmar Bergman: His Life and Films, 2001, p. 6; see also Bergman's autobiography, Laterna Magica.
  8. ↑ Ingmar Bergman, The Magic Lantern (transl. from Swedish: Laterna Magica), Chicago: University of Chicago Press, 2007; ISBN 978-0-226-04382-1.
  9. ↑ "Bergman admits Nazi past". BBC News. 7 September 1999.
  10. ↑ Peter Ohlin. (2009.) "Bergman's Nazi Past", Scandinavian Studies, 81(4):437-74.
  11. ↑ Jerry Vermilye, Ingmar Bergman: His Life and Films, 2001, p. 6.
  12. ↑ Ingmar Bergman, Images : my life in film (translated from the Swedish by Marianne Ruuth), London: Bloomsbury, 1994. ISBN 0-7475-1670-7.
  13. ↑ Stated in Marie Nyreröd’s interview series (the first part named Bergman och filmen) aired on Sveriges Television Easter 2004.
  14. ↑ 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.
  15. ↑ Donald F. Theall, Beyond the Word: reconstructing sense in the Joyce era of technology, culture, and communication, 1995, p. 35.
  16. ↑ 16.0 16.1 American Film Institute seminar, 1975, on The Criterion Collection’s 2006 DVD of The Virgin Spring.
  17. ↑ "THE SCREEN: I Am A Conjurer". Time Magazine. 14 March 1960. Retrieved 16 November 2009.
  18. ↑ "Winter Light". 2005.
  19. ↑ "Bergman ‘depressed’ by own films". BBC News (London). 10 April 2004. Retrieved 5 January 2010.
  20. ↑ Åtal mot Bergman läggs ned (video) Sveriges Television, Rapport, 23 March 1976.
  21. ↑ Generaldirektör om Bergmans flykt (video) Sveriges Television, Rapport, 22 April 1976.
  22. ↑ Harry Schein om Bergmans flyk (video), Sveriges Television, Rapport, 22 April 1976.
  23. ↑ Ephraim Katz, The Film Encyclopedia, New York: HarperCollins, 5th ed., 1998.
  24. ↑ Ingmar Bergman: Samtal på Fårö, Sveriges Radio, 28 March 2005.
  25. ↑ "Bergman buried in quiet ceremony". BBC News (London). 18 August 2007. Retrieved 5 January 2010.
  26. ↑ "Film Great Ingmar Bergman Dies at 89". 30 July 2007.
  27. ↑ 27.0 27.1 Jacobsson, Cecilia (28 May 2012). "Ingmar Bergmans ratade texter blev ny pjäs". Dagens Nyheter (in Swedish). Retrieved 28 May 2012.
  28. ↑ Le Cain, Maximillian. "Andrei Tarkovsky".
  29. ↑ Title quote of 2003 Tarkovsky Festival Program, Pacific Film Archive.
  30. ↑ "Young and Learning:An Interview with Pedro Almodóvar". Reverse Shot.
  31. ↑ "Ingmar Bergman by Jean-Luc Godard".
  32. ↑ "Robert Altman biography". Retrieved 10 January 2008.
  33. ↑ 33.0 33.1 33.2 33.3 33.4 33.5 "Ingmar Bergman". Retrieved 10 January 2008.
  34. ↑ Biography for Francis Ford Coppola at the Internet Movie Database
  35. ↑ "Guillermo del Toro’s Top Ten". The Criterion Collection. Retrieved 24 July 2011.
  36. ↑ Farhadi, Asghar. Interview. 19 December 2011. "DP/30: A Separation, Writer/director Asghar Farhadi." YouTube.
  37. ↑ "With words or pictures, Ingmar Bergman got you thinking". Los Angeles Times. 1 August 2007. Retrieved 1 August 2007.
  38. ↑ Corliss, Richard (1 August 2007). "Woody Allen on Ingmar Bergman". Time. Retrieved 23 July 2008.
  39. ↑ "Ingmar Bergman, Master Filmmaker, 1918–2007". BLAST. 1 August 2007. Archived from the original on 27 September 2007. Retrieved 1 August 2007.
  40. ↑ "In Memoriam: Ingmar Bergman, Michelangelo Antonioni — India News Blog". Retrieved 10 January 2008.
  41. ↑ "Personal Quotes;- Internet Movie Database".
  42. ↑ "Ang Lee praises Bergman". Retrieved 22 July 2008.
  43. ↑ "There is no Aphrodisiac like Innocence". Retrieved 10 August 2008.
  44. ↑ "Ingmar Bergman".
  45. ↑
  46. ↑ "Bergman helps preserve legacy". BBC News. 11 June 2002.
  47. ↑ Satyajit Ray: Interviews - Satyajit Ray - Google Books. Books.google.co.in. Retrieved on 2014-05-22.
  48. ↑ Ebert, Roger. "Roger Ebert Review of Faithless (2000)". Chicago Sun-Times.
  49. ↑ Steene Birgitta, "Ingmar Bergman: a reference guide", Amsterdam university press, 2005 p.270
  50. ↑ "Scenes From An Idiot's Marriage". Funny Or Die. 14 April 2008.
  51. ↑ Bennun, David (7 August 2007). "How the Muppets made us all Bergman experts". The Guardian (London).
  52. ↑ "The 33rd Academy Awards (1961) Nominees and Winners". oscars.org. Retrieved 29 October 2011.
  53. ↑ 53.0 53.1 "The 34th Academy Awards (1962) Nominees and Winners". oscars.org. Retrieved 29 October 2011.
  54. ↑ "The 56th Academy Awards (1984) Nominees and Winners". oscars.org. Retrieved 27 October 2013.
  55. ↑ "Berlinale: Prize Winners". berlinale.de. Retrieved 3 January 2010.
  56. ↑ "Tystnaden (1963)". Swedish Film Institute. 24 February 2014.
  57. ↑ "Persona". Swedish Film Institute. 1 March 2014.
  58. ↑ "Viskningar och rop (1973)". Swedish Film Institute. 2 March 2014.
  59. ↑ 59.0 59.1 "Fanny och Alexander (1982)". Swedish Film Institute. 9 March 2014.
  60. ↑ "Den goda viljan (1992)". Swedish Film Institute. 22 March 2014.
  61. ↑ "Book of Members, 1780–2010: Chapter B" (PDF). American Academy of Arts and Sciences. Retrieved 16 June 2011.
  62. ↑
  63. ↑ Bergman portrait on Swedish kronor
  64. ↑ "Ingmar Bergman.The Image Maker". Multimedia Art Museum, Moscow.
  65. ↑ "Ingmar Bergman: The Man Who Asked Hard Questions". Multimedia Art Museum, Moscow.

Bibliography

External links

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Bibliographies
Awards and achievements
Preceded by
Henri-Georges Clouzot
for The Mystery of Picasso		 Prix du Jury
1957
for The Seventh Seal 		Succeeded by
Jacques Tati
for Mon Oncle
Preceded by
Robert Bresson
for A Man Escaped		 Prix de la mise en scène
1958
for Brink of Life 		Succeeded by
François Truffaut
for The 400 Blows
Preceded by
Sidney Lumet
for 12 Angry Men		 Golden Bear
1958
for Wild Strawberries 		Succeeded by
Claude Chabrol
for Les Cousins
Preceded by
Alfred Hitchcock		 Irving G. Thalberg Memorial Award
1971 		Succeeded by
Lawrence Weingarten
Preceded by
Orson Welles		 Career Golden Lion
1971 		Succeeded by
Charles Chaplin, Anatali Golovnia, Billy Wilder
Preceded by
Stanley Kubrick
for A Clockwork Orange		 New York Film Critics Circle Award for Best Director
1972
for Cries and Whispers 		Succeeded by
François Truffaut
for Day for Night
Preceded by
Peter Bogdanovitch
for The Last Picture Show		 New York Film Critics Circle Award for Best Screenplay
1972
for Cries and Whispers 		Succeeded by
George Lucas, Gloria Katz, Willard Huyck
for American Graffiti
Preceded by
George Lucas, Gloria Katz, Willard Huyck
for American Graffiti		 New York Film Critics Circle Award for Best Screenplay
1974
for Scenes from a Marriage 		Succeeded by
François Truffaut, Suzanne Schiffman, Jean Gruault
for The Story of Adele H.
Preceded by
Sydney Pollack
for Tootsie		 New York Film Critics Circle Award for Best Director
1983
for Fanny and Alexander 		Succeeded by
David Lean
for A Passage to India