name	Cries and Whispers
director	Ingmar Bergman
producer	Lars-Owe Carlberg
writer	Ingmar Bergman
narrator	Ingmar Bergman
starring	Harriet AnderssonKari SylwanIngrid ThulinLiv UllmannInga GillErland Josephson
music	Johann Sebastian BachFrédéric Chopin
cinematography	Sven Nykvist
editing	Siv Lundgren
studio	Svensk Filmindustri
released
runtime	91 minutes
country
language	Swedish
budget	$400,000
gross	SEK 2,130,705 }}

''Cries and Whispers'' (, lit. "Whispers and Cries") is a 1972 Swedish film written and directed by Ingmar Bergman and starring Harriet Andersson, Kari Sylwan, Ingrid Thulin and Liv Ullmann. The film is set on a mansion at the end of the 19th century and is about two sisters who watch over their third sister on her deathbed, torn between fearing she might die and hoping that she will. After several unsuccessful experimental films ''Cries and Whispers'' was a critical and commercial success, gaining nominations for five Academy Awards. This included a nomination for Best Picture, which was unusual for a foreign-language film.

''Cries and Whispers'' returned to the traditional Bergman themes of the female psyche or the quest for faith and redemption. Unlike Bergman's previous films, ''Cries and Whispers'' uses saturated colour, especially crimson. It was for the color and light scheme that the cinematographer and long-time collaborator Sven Nykvist was awarded the Academy Award for Best Cinematography.

Plot

''Cries and Whispers'' takes place in a lavish mansion in the 1800s, filled with red carpets and white statuary. It depicts the final days of Agnes (Harriet Andersson), who is near-death with cancer. Her sisters Maria (Liv Ullmann) and Karin (Ingrid Thulin) have returned to the family home to be with her. They remain distant and awkward, and struggle to comfort their sister, while dealing with shock and the fear of mortality her death is bringing to them. The deeply religious maid Anna (Kari Sylwan), whose own daughter died young, is able to comfort her. At length, Agnes dies, and a priest (Anders Ek) arrives at her death bed. Later in the film she returns to life for a short moment. In a dream-like sequence she asks her family for love and care. For a moment Karin, Maria and the dead Agnes are getting closer to each other, only to be even more distant shortly afterwards. Only Anna is able to embrace and mourn the dead. The film is characterized by flashbacks that return to the life of the protagonists and their memories, tracing each woman's personality to the childhood they spent together. Maria remembers her failed marriage; Agnes remembers her unrequited devotion to their distant mother; Karin struggles with self-harm. She performs an act of self-mutilation on her sexual organs to disturb and drive away her husband. The idea unheard of in film making is recently repeated somewhat in Lars Von Tier film Antichrist (2009)

The last flashback, from the deceased Agnes' point of view, is narrated with her diary, and shows her sisters descending upon the house clad in white, like angels. The last words are Agnes whispering "Come what may, this is happiness. I cannot wish for anything better. Now, for a few minutes, I can experience perfection. And I feel profoundly grateful to my life, which gives me so much."

Cast

Harriet Andersson as Agnes

Kari Sylwan as Anna

Ingrid Thulin as Karin

Liv Ullmann as Maria (and her mother)

Anders Ek as Isak, the priest

Inga Gill as Story teller

Erland Josephson as David, the doctor

Henning Moritzen as Joakim, Maria's husband

Georg Årlin as Fredrik, Karin's husband

Linn Ullmann as Maria's daughter

Production

Writing and pre-production

Bergman's films were difficult to market commercially and thus foreign capital was not available to finance the film. Bergman then decided to shoot the film in Swedish and not in English as his previous film ''The Touch (1971 film)'' and to finance ''Cries and Whispers'' through his own production company Cinematograph. Although he used personal savings of 750,000 SEK and loans of 200,000 SEK he also had to ask the Swedish Film Institute for support to finance the 1.5 million SEK budget. To save costs the main actresses and Nykvist gave their salary as a loan and were nominally co-producers.

Soundtrack

"Suite No. 5 for solo Cello in C Minor, 4th mvt 'Sarabande'" by Johann Sebastian Bach. Played by Pierre Fournier.

"Mazurka in A minor, Op.17/4" by Frédéric Chopin. Played by Käbi Laretei.

Reception

''Cries and Whispers'' was extremely well received by critics. The New York Times' Vincent Canby called it a "magnificent, moving, and very mysterious new film". Writing about the film in his series on "Great Movies", film critic Roger Ebert says "To see it is to touch the extremes of human feeling. It is so personal, so penetrating of privacy, we almost want to look away."

Awards

''Cries and Whispers'' was shown out of competition at the 1973 Cannes Film Festival, where Bergman received an overwhelming emotional response by the audience. and where it won the Vulcain Prize of the Technical Artist. At the 46th Academy Awards it was nominated for five awards, the Academy Awards for Best Director, Best Original Screenplay, Best Cinematography, Best Costume Design for the costume designer Marik Vos and unusually for a foreign-language film for Best Picture. In the end Sven Nykvist won the cinematography award for his work as director of photography. To qualify for the Academy Awards the film was rushed to a premiere in Los Angeles County, before the official premiere in Sweden a few months later.

''Cries and Whispers'' was nominated and won several other awards on festivals and from critics associations. At the 27th British Academy Film Awards Sven Nykvist was nominated for Best Cinematography and Ingrid Thulin for Best Supporting Actress, at the 30th Golden Globe Awards the film was nominated for Best Foreign Language Film. and at the David di Donatello ceremony Ingmar Bergman won in the category Best Foreign Director and Andersson, Sylwan, Thulin and Ullmann won the Special David award. In Scandinavia the film won the Guldbagge Awards for Best Film, Harriet Andersson for Best Actress and Sven Nykvist the Special Jury Price, the Jussi Award for Best Foreign Director and the Bodil Awards for Best European Film. The film won also several awards from critics associations, including the New York Film Critics Circle Awards, National Board of Review awards and National Society of Film Critics awards.

References

External links

''Cries and Whispers'' at the Ingmar Bergman Foundation

Category:1972 films Category:Swedish films Category:Swedish-language films Category:1970s drama films Category:Films directed by Ingmar Bergman

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name	Ingrid Thulin
birth date	January 27, 1926
birth place	Sollefteå, Ångermanland, Sweden
death date	January 07, 2004
death place	Stockholm, Sweden
spouse	Claes Sylwander (1952–1955) Harry Schein (1956–1989)
website	http://www.ingridthulin.se/ }}

Ingrid Lilian Thulin (; 27 January 1926 – 7 January 2004) was a Swedish film actress.

Biography

Thulin was born in Sollefteå, Ångermanland, northern Sweden, the daughter of Nanna (née Larsson) and Adam Thulin, a fisherman. She took ballet lessons as a girl and was accepted by The Royal Dramatic Theatre ("''Dramaten''") in Stockholm 1948.

For many years she worked regularly with Ingmar Bergman; among other films, Thulin appeared in Bergman's ''Wild Strawberries (film)'' (1957), ''The Magician'' (where she acted dressed as a boy), in ''Winter Light'' (1962), as well as ''The Silence'' (1963) and ''Cries and Whispers'' (1972).

She shared the best actress award at the 1958 Cannes Film Festival and received a Guldbagge Award as best actress in 1964, the first year the award was given out, for her performance in ''The Silence''. Winner of the David di Donatello Awards 1974, Thulin was also been nominated for the BAFTA Award the same year. In 1980, she was the head of the jury at the 30th Berlin International Film Festival.

She was married to Harry Schein, the founder of the Swedish Film Institute, for more than 30 years until 1989, although they had lived separately for many years before the divorce. She bought an apartment in Paris, France in the early 1960s and some years later a beach house in San Felice Circeo, south of Rome. In 1970 she became a resident of Sacrofano (Italy), where she lived for 34 years.

She returned to Sweden for medical treatment and later died from cancer in Stockholm, Sweden, 20 days shy of her 78th birthday. Her memories were published in 1992 ("''Någon jag kände''" ("Somebody I knew"); Norstedts Förlag, ISBN 91-1-919472-2).

Partial filmography

''Leva på 'Hoppet''' (1951)Director: Göran Gentele ''Foreign Intrigue'' (1956) with Robert Mitchum Director: Sheldon Reynolds '' Smultronstället / Wild Strawberries '' (1957) with Victor Sjöström Director: Ingmar Bergman '' Ansiktet / The Magician '' (1958) Director: Ingmar Bergman ''Domaren'' / ''The Judge'' (1960) Director: Alf Sjöberg '' Four Horsemen of the Apocalypse '' (1962) with Glenn Ford Director: Vincente Minnelli ''Nattvardsgästerna / Winter Light'' (1962) with Gunnar Björnstrand, Max von Sydow and Gunnel Lindblom '' Tystnaden / The Silence'' (1963) with Gunnel Lindblom Director: Ingmar Bergman '' The War Is Over '' (1966) with Yves Montand Director: Alain Resnais '' Vargtimmen / Hour of the Wolf'' (1968) with Max von Sydow Director: Ingmar Bergman ''The Damned'' (1969) with Helmut Berger Director: Luchino Visconti ''Viskningar och Rop / Cries and Whispers'' (1972) with Liv Ullmann, Harriet Andersson Director: Ingmar Bergman ''A Handful of Love'' (1974) Director: Vilgot Sjöman ''Salon Kitty'' (1975) with Helmut Berger Director: Tinto Brass ''La Cage'' (1976) with Lino Ventura Director: Pierre Granier-Deferre ''Efter repetitionen / After the Rehearsal'' (1984) with Erland Josephson Director: Ingmar Bergman ''Il Giorno Prima / Contrôle'' (1987) with Ben Gazzara, Burt Lancaster, Kate Nelligan Director: Giuliano Montaldo

Further reading

Cowie, Peter (1970): ''Sweden 1. An Illustrated Guide ... to the Work of the Leading Directors, Players, Technicians, and other Key Figures in Swedish Cinema, with Credits and Plot outlines to more than seventy important Films, and Index to 1,000 Titles'', A. Zwemmer Ltd., London

Cowie (1970): ''Sweden 2. A Comprehensive Assessment of the Themes, Trends, and Directors in Swedish Cinema'', A. Zwemmer Ltd., London

Cowie (1977): ''Film in Sweden. Stars and Players'', Tantivy Press, London (ISBN 0-498-02013-4)

References

External links

Ingrid Thulin Official Website (Swedish)

Ingmar Bergman Face to Face on Ingrid Thulin

Bergman's leading lady dies at 76

Bergmanorama on Ingrid Thulin

Ingrid Thulin: Northern Light

Category:1926 births Category:2004 deaths Category:People from Sollefteå Municipality Category:Cancer deaths in Sweden Category:Swedish film actors

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name	Liv Ullmann
birth name	Liv Johanne Ullmann
birth date	December 16, 1938
birth place	Tokyo, Japan
occupation	Actress/Director
years active	1957–present
spouse	Gappe Stang (1960–1965)Donald Richard Saunders (1985–1995)
religion	Christianity }}

Liv Johanne Ullmann (born 16 December 1938) is a Norwegian actress and film director, as well as one of the "muses" of the Swedish director Ingmar Bergman. Nominated five times for a Best Actress Golden Globe, winning once for The Emigrants, Ullmann has also been nominated for the Palme d'Or, two times for the Academy Award, and two times for a BAFTA Film Award.

Personal life

Ullmann was born in Tokyo, Japan, the daughter of Janna (née Lund) and Viggo Ullmann, an aircraft engineer who was working in Tokyo at the time. At age two, the family moved to Toronto, Canada where her father worked at the Norwegian air force base on Toronto Island during World War II. Four years later, her father died of a brain tumor, an event that affected her deeply. After the war, the rest of the family moved to Trondheim, Norway, where Ullman spent the rest of her youth. She currently resides in Miami, Florida.

Career

Ullmann began her acting career on the Norwegian stage in the mid 1950s. She continued to act in the theatre for most of her career, and became noted for her portrayal of Nora in Henrik Ibsen's ''A Doll's House'', but became wider known once she started to work with eminent Swedish film director Ingmar Bergman. She went on to act to significant acclaim in 10 of his most admired films, including ''Persona'' in 1966, ''The Passion of Anna'' in 1969, ''Cries and Whispers'' in 1972 and ''Autumn Sonata'', in which her co-star, Ingrid Bergman, made her return to Swedish cinema. She co-starred often with Swedish actor and fellow Bergman collaborator, Erland Josephson, with whom she made the 1973 Swedish television drama, ''Scenes from a Marriage'', which was also edited to feature-film length and distributed theatrically. Ullmann appeared with Laurence Olivier in Richard Attenborough's ''A Bridge Too Far'' in 1977.

Nominated more than 40 times for awards, including various lifetime achievement awards, she won the best actress prize three times from the National Society of Film Critics, three times from the National Board of Review, received three awards from the New York Film Critics Circle and a Golden Globe. In 1971, Ullmann was nominated for the Best Actress Academy Award for ''The Emigrants'', and again in 1976 for ''Face to Face''.

In 1973 Ullmann made her New York stage debut in the unsuccessful Broadway revival of ''I Remember Mama''. The show underwent numerous revisions during a long preview period, then closed after 108 performances. She also starred in the nearly universally panned film version of ''Lost Horizon'' in 1973.

Ullmann's first film as a director was 1992's Sofie, in which she directed her friend and former co-star, Erland Josephson. She went on to direct the Bergman-penned ''Faithless'' and in 2003 reprised her role from ''Scenes from a Marriage'' in ''Saraband'', Bergman's final telemovie. ''Faithless'' garnered nominations for both the Palme d'Or and Best Actress at the Cannes Film Festival.

In 1984, she chaired the jury at the 34th Berlin International Film Festival, and in 2002 chaired the jury of Cannes Film Festival. She introduced her daughter, Linn Ullmann, to the audience with the words: "Here comes the woman whom Ingmar Bergmann loves the most". Her daughter was there to receive the Prize of Honour on behalf of her father; she would return to take a place on the jury herself in 2011. In 2006 Ullmann announced that she'd been forced to give up on her dream of making a film based on ''A Doll's House''. According to her statement, the Norwegian Film Fund was blocking her and writer Kjetil Bjørnstad from pursuing the project. Australian actress Cate Blanchett and British actress Kate Winslet had been cast intended in the lead roles in the movie. She later directed Blanchett in ''A Streetcar Named Desire (play)'' at the Sydney Theatre Company in Australia, which ran September through October 2009, and then continued from 29 October to 21 November 2009 at the Kennedy Center for the Performing Arts in Washington, DC, where it won a Helen Hayes Award for Outstanding Non-resident Production as well as actress and supporting performer for 2009. The play was also mounted at the Brooklyn Academy of Music in New York.

Ullmann narrated the Canada/Norway co-produced animated short film ''The Danish Poet'', which won the Academy Award for Animated Short Film at the 79th Academy Awards in 2007.

On 10 December 2010, Ullmann participated in the 2010 Nobel Peace Prize Ceremony. She read "I have no Enemies," the words of 2010 Peace Prize Laureate Liu Xiaobo, a human rights advocate imprisoned in China. In Mr. Liu's absence, the medal and diploma were placed on an empty chair on the stage.

She published two autobiographies, ''Changing'' and ''Choices'' in the late 1970s, during which time she became a UNICEF Goodwill Ambassador.

Private life

In addition to Norwegian, Ullmann speaks Swedish, English and other European languages. She is a UNICEF Goodwill Ambassador and has traveled widely for the organization. She is also co-founder and honorary chair of the Women's Refugee Commission. In 2005, King Harald V of Norway made Ullmann a Commander with Star of the Order of St. Olav. In 2006, she received a PhD ''honoris causa'' from the Norwegian University of Science and Technology.

Ullmann has been married and divorced twice. Her first marriage was to Hans Jacob Stang, a Norwegian psychiatrist, whom she divorced in 1965. According to her biographer, Ketil Bjørnstad, the marriage was marred by infidelities on both sides. In the 1980s, she married Boston real estate developer Donald Saunders, whom she divorced in 1995. The couple continued to live together until 2007.

She has one child, Linn Ullmann, fathered by Ingmar Bergman in 1966; the two lived together for five years. Ullmann has two grandchildren, a boy and a girl, from her daughter's two marriages.

Filmography

+ As actress
! Year	! Title	! Role	Notes
1962	''Tonny''	Kari	Entered into the 12th Berlin International Film Festival
1966		Elisabet Vogler
		Eva Rosenberg
''Hour of the Wolf''	Alma Borg	National Board of Review Award for Best Actress (also for Shame)
1969	''The Passion of Anna''	Anna Fromm
1971	''''	Kristina	Golden Globe Award for Best Actress – Motion Picture DramaNominated—Academy Award for Best Actress
1971	''''	Ester Jenks
1972	''The New Land''	Kristina	National Board of Review Award for Best Actress
1972	''Cries and Whispers''	Maria (and her mother)	New York Film Critics Circle Award for Best Actress
1972		Pope Joan
1973	''Scenes from a Marriage''	Marianne
1973		Ann Stanley	Nominated—Golden Globe Award for Best Actress – Motion Picture Musical or Comedy
1973		Katherine
1974		Hannah Lund
1974	''''	Queen Kristina
1976		Dr. Jenny Isaksson	Los Angeles Film Critics Association Award for Best ActressNational Board of Review Award for Best ActressNew York Film Critics Circle Award for Best ActressNominated—Academy Award for Best ActressNominated—BAFTA Award for Best Actress in a Leading RoleNominated—Golden Globe Award for Best Actress – Motion Picture Drama
1977	''''	Manuela Rosenberg
1977	''''	Kate Ter Horst
1978	''Autumn Sonata''	Eva
1980	''Richard's Things''	Kate Morris
1984	''''	Mrs. Campbell
1986	''Let's Hope It's a Girl''	Elena
1987	''Gaby: A True Story''	Sari
1987	''Farewell Moscow''	Ida Nudel
1988	''La amiga''	María
1988	''A Time of Indifference''	Maria Grazia	(TV)
1989	''''	Gabriele	Nominated—Golden Globe Award for Best Actress – Motion Picture Drama
1991	''Mindwalk''	Sonia Hoffman
1991	''Sadako and the Thousand Paper Cranes''	Narrator	(voice)
1992	''''	Katherine
1992	''The Ox''	Mrs. Gustafsson
1994		Ticket Seller
1994	''Zorn''	Emma Zorn	(TV)
2003	''Saraband''	Marianne	(TV)
2006	''''	Narrator
2008		Grandmother

The Danish Poet won its director Torill Kove the Academy Award for Best Animated Short Film at the 79th Academy Awards.

+ As director
! Year	! Film	Notes
1992	''Sofie''	Montreal World Film Festival Special Grand Prize of the JuryMontreal World Film Festival Prize of the Ecumenical JuryMontreal World Film Festival Most Popular Film
1995		(from the novel by Sigrid Undset)
1996	''Private Confessions''
2000

References

Further reading

Robert Emmet Long, ed. (2006), ''Liv Ullmann: Interviews''. University Press of Mississippi. ISBN 1-57806-823-1, 1-57806-824-X (paper). Collected interviews with Ullmann

Liv Ullmann (1984), ''Choices''. New York: Knopf. ISBN 0-394-53986-9. ISBN 978-0394539867. Autobiography

David Outerbridge (1979), ''Without Makeup, Liv Ullmann: A Photo-Biography''. New York: William Morrow. ISBN 0-68803441-1

Liv Ullmann (1977), ''Changing''. New York: Knopf. ISBN 0-394-41148-X. Autobiography

External links

The Guardian/NFT interview with Shane Danielson, 23 January 2001

Peter Bradshaw review of ''Trolösa'', ''The Guardian'', 9 February 2001

Category:Best Drama Actress Golden Globe (film) winners Category:European Film Awards winners (people) Category:Female film directors Category:Norwegian actors Category:Norwegian film directors Category:Commanders with Star of the Order of St. Olav Category:People from Trondheim Category:People from Tokyo Category:Actors from Tokyo Category:1938 births Category:Living people Category:Norwegian Christians Category:David di Donatello winners‎

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Name	Ingmar Bergman
Birth name	Ernst Ingmar Bergman
Other namess	Buntel Eriksson
Birth date	July 14, 1918
Birth place	Uppsala, Sweden
Death date	July 30, 2007
Death place	Fårö, Sweden
Occupation	Film director, producer, screenwriter
Years active	1944–2005
Spouse	Else Fisher (1943–45)Ellen Lundström (1945–50)Gun Grut (1951–59)Käbi Laretei (1959–69)
Awards	Goethe Prize
Influences	August StrindbergVictor SjöströmAkira KurosawaFederico FelliniMarcel Carné }}

Ernst Ingmar Bergman (; 14 July 1918 – 30 July 2007) was a Swedish director, writer and producer for film, stage and television. 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.

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 Harriet Andersson, Liv Ullmann, Gunnar Björnstrand, 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.

Early life

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 Akerblom, a nurse. 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" like 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 colored 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''. Bergman's interest in theatre and film began early: "At the age of 9, 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."

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. 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". Bergman did two five-month stretches of mandatory military service.

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". 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 theater. 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. 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 and ''The Naked Night/Sawdust and Tinsel'' (''Gycklarnas afton'') and ''Summer with Monika'' (''Sommaren med Monika''), both from 1953.

Bergman first achieved worldwide success with ''Smiles of a Summer Night'' (''Sommarnattens leende'') (1955), which won for "Best poetic humor" 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 represented 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. In 1964 he made a parody of Fellini with ''All These Women''.

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. Since then, 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 eighty-four years old.

Repertory company

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 of them 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.)

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.

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. 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 about his films, Bergman said he held ''Winter Light'', ''Persona'', and ''Cries and Whispers'' in the highest regard, though in an interview in 2004, Bergman said that he was "depressed" by his own films and could not watch them anymore. In these films, he said, he managed to push the medium to its limit. 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.

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". 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 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.

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 honor 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 at Fårö Island, 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 hip surgery in October 2006 and was making a difficult recovery. He died peacefully in his sleep, at his home on Fårö, on 30 July 2007, at the age of eighty-nine, the same day that another renowned film director, Michelangelo Antonioni, also died. He was buried on the island 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.

On 6 April 2011, the Bank of Sweden announced that Bergman's portrait will feature on the new 200 kronor banknote, beginning in 2014–15.

Family

Bergman was married five times:

25 March 1943 – 1945, to Else Fisher, choreographer and dancer (divorced). Children:

* Lena Bergman, actress, born 1943.

22 July 1945 – 1950, to Ellen Lundström, choreographer and film director (divorced). Children:

* Eva Bergman, film director, born 1945,

* Jan Bergman, film director (1946–2000), and

* twins Mats and Anna Bergman, both actors and film directors and born in 1948.

1951 – 1959, to Gun Grut, journalist (divorced). Children:

* Ingmar Bergman Jr, airline captain, born 1951.

1959 – 1969, to Käbi Laretei, concert pianist (divorced). Children:

* Daniel Bergman, film director, born 1962.

11 November 1971 – 20 May 1995, to Ingrid von Rosen (maiden name Karlebo) (widowed). 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 actress 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.

Influence

Many filmmakers have praised Bergman and cited his work as a major influence on their own: Woody Allen referred to Bergman as "probably the greatest film artist, all things considered, since the invention of the motion picture camera." Robert Altman Pedro Almodóvar Olivier Assayas Francis Ford Coppola stated: "My all-time favorite because he embodies passion, emotion and has warmth" Guillermo del Toro stated: ‘Bergman as a fabulist – my favorite – is absolutely mesmerizing.’ Todd Field stated: "He was our tunnel man building the aqueducts of our cinematic collective unconscious." Krzysztof Kieślowski stated: "This man is one of the few film directors—perhaps the only one in the world—to have said as much about human nature as Dostoevsky or Camus." Stanley Kubrick stated: "I believe Ingmar Bergman, Vittorio De Sica and Federico Fellini are the only three filmmakers in the world who are not just artistic opportunists. By this I mean they don't just sit and wait for a good story to come along and then make it. They have a point of view which is expressed over and over and over again in their films, and they themselves write or have original material written for them." Ang Lee stated: "For me the filmmaker Bergman is the greatest actor of all..." François Ozon Chan-wook Park Eric Rohmer stated: "The Seventh Seal is 'the most beautiful film ever'" Marjane Satrapi Mamoru Oshii Paul Schrader stated: "I would not have made any of my films or written scripts such as ''Taxi Driver'' had it not been for Ingmar Bergman. What he has left is a legacy greater than any other director. I think the extraordinary thing that Bergman will be remembered for, other than his body of work, was that he probably did more than anyone to make cinema a medium of personal and introspective value." Martin Scorsese stated: "I guess I'd put it like this: 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 films, I don't see how you couldn't be influenced by Bergman. You would have had to make a conscious effort, and even then, the influence would have snuck through." Steven Spielberg stated: "His love for the cinema almost gives me a guilty conscience." Andrei Tarkovsky Tarkovsky held Bergman in very high regard, noting him and Robert Bresson as his two favourite filmmakers, stating "I am only interested in the views of two people: one is called Bresson and one called Bergman". Such was Bergman's influence, Tarkovsky's last film was made in Sweden with Sven Nykvist, Bergman's longtime cinematographer, and several of Bergman's favoured actors including Erland Josephson. Bergman likewise had great respect for Tarkovsky, stating; "Tarkovsky for me is the greatest director" André Téchiné Liv Ullmann Asghar Farhadi

Filmography

Popular culture

An Ingmar 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 (7/24/1976). The sketch, titled Swedish Movie, is somberly narrated in the third-person by a Swedish-speaking Death (Tom Schiller), 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.

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: Won: Best Foreign Film ''The Virgin Spring'' (Jungfrukällan) (1960) Won: Best Foreign Film ''Through a Glass Darkly'' (''Såsom i en spegel'') (1961)

Won: Best Foreign Film ''Fanny and Alexander'' ''(Fanny och Alexander)'' (1983)

Nominated: Best Original Screenplay, ''Wild Strawberries'' (''Smultronstället'') (1957)

Nominated: Best Original Screenplay ''Through a Glass Darkly'' (1961)

Nominated: Best Original Screenplay, ''Cries and Whispers'' (''Viskningar och rop'') (1974)

Nominated: Best Picture, ''Cries and Whispers'' (''Viskningar och rop'') (1974)

Nominated: Best Director, ''Cries and Whispers'' (''Viskningar och rop'') (1974)

Nominated: Best Director, ''Face to Face'' ''(Ansikte mot ansikte'') (1977)

Nominated: Best Original Screenplay, ''Autumn Sonata'' ''(Höstsonaten)'' (1979)

Nominated: Best Original Screenplay, ''Fanny and Alexander'' ''(Fanny och Alexander)'' (1983)

Nominated: Best Director, ''Fanny and Alexander'' ''(Fanny och Alexander)'' (1983)

BAFTA Awards

Nominated: Best Film from any Source, ''The Magician'' (''Ansiktet'') (1960)

Nominated: Best Foreign Film, ''Fanny and Alexander'' (''Fanny och Alexander)'' (1984)

Berlin Film Festival

Won: Golden Bear for Best Film, ''Wild Strawberries'' (''Smultronstället'') (1957)

Nominated: Golden Bear for Best Film, ''Through a Glass Darkly'' (''Såsom i en spegel'') (1961)

Won: OCIC Prize, ''Through a Glass Darkly'' (1961)

Cesar Awards

Nominated: Best Foreign Film, ''The Magic Flute'' (''Trollflöjten'') (1976)

Nominated: Best Foreign Film, ''Autumn Sonata'' ''(Höstsonaten)'' (1979)

Won: Best Foreign Film, ''Fanny and Alexander'' (''Fanny och Alexander)'' (1984)

Nominated: Best European Film, ''Saraband'' (2005)

Cannes Film Festival

Won: Best Poetic Humor ''Smiles of a Summer Night'' (''Sommarnattens leende'') (1955)

Nominated: Golden Palm ''Smiles of a Summer Night'' (''Sommarnattens leende'') (1955)

Won: Jury Special prize ''The Seventh Seal'' (''Det Sjunde inseglet'') (1957)

Nominated: Golden Palm ''The Seventh Seal'' (''Det Sjunde inseglet'') (1957)

Won: Best Director ''Brink of Life'' (''Nära livet'') (1958)

Nominated: Golden Palm ''Brink of Life'' (''Nära livet'') (1958)

Won: Special Mention ''The Virgin Spring'' (''Jungfrukällan'') (1960)

Nominated: Golden Palm ''The Virgin Spring'' (''Jungfrukällan'') (1960)

Won: Technical Grand Prize ''Cries and Whispers'' (''Viskningar och rop'') (1972)

Won: Palm of Palms (1997)

Won: Prize of the Ecumenical Jury (1998) (Special award for his whole works.)

Golden Globe Awards

Won: Best Foreign Film ''Wild Strawberries'' (''Smultronstället'') (1960)

Won: Best Foreign Film ''The Virgin Spring'' (1961)

Won: Best Foreign Film ''Scenes from a Marriage'' (1975)

Won: Best Foreign Film ''Face to Face'' (1976)

Won: Best Foreign Film ''Autumn Sonata'' (1978)

Won: Best Foreign Film ''Fanny and Alexander'' (1984)

Nominated: Best Foreign Film ''Shame'' (1968)

Nominated: Best Foreign Film ''Cries and Whispers'' (1973)

Other awards and honors

Foreign Honorary Member of the American Academy of Arts and Sciences (1961) The Dorothy and Lillian Gish Prize (1995)

See also

Cinema of Sweden

List of film collaborations

References

Bibliography

''Bergman on Bergman: Interviews with Ingmar Bergman.'' By Stig Björkman, Torsten Manns, and Jonas Sima; Translated by Paul Britten Austin. Simon & Schuster, New York. 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

''The Magic Lantern'', Ingmar Bergman, Translated by Joan Tate New York, Viking Press, 1988, ISBN 0-670-81911-5

External links

Ingmar Bergman Face to Face

The Ingmar Bergman Foundation

Ingmar Bergman all posters

Bergmanorama: The magic works of Ingmar Bergman

The Guardian/NFT interview with Liv Ullmann by Shane Danielson, 23 January 2001

Bergman talks of his dreams and demons in rare interview, by Xan Brooks, ''The Guardian'', 12 December 2001

Bergman Week

Regilexikon

DVDBeaver's Director's Chair on Bergman, with links to DVD and Blu-ray comparisons of his major films

;Bibliographies

Ingmar Bergman Bibliography (via UC Berkeley)

Ingmar Bergman Site

Collection of interviews with Bergman

Category:1918 births Category:2007 deaths Category:People from Uppsala Category:European Film Awards winners (people) Category:BAFTA winners (people) Category:César Award winners Category:Swedish film directors Category:Swedish screenwriters Category:Swedish theatre directors Category:Erasmus Prize winners Category:Stockholm University alumni Category:Sommar hosts Category:Gotland Category:Swedish agnostics Category:Fellows of the American Academy of Arts and Sciences Category:David di Donatello winners‎

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Luca Lombardi (born 24 December 1945 in Rome) is an Italian composer.

Biography

Lombardi studied composition initially with Armando Renzi and Roberto Lupi, later enrolling at the Pesaro Conservatory where he studied with Boris Porena, receiving his diploma in 1970. He then studied musicology at the University of Rome, graduating with a thesis on Hanns Eisler. From 1968 to 1972 he lived in Cologne where he studied with Karlheinz Stockhausen, Henri Pousseur, Mauricio Kagel, Dieter Schnebel, and Frederic Rzewski at the Cologne Courses for New Music, and with Bernd Alois Zimmermann at the Hochschule für Musik. He also studied for a time in Berlin with Paul Dessau in 1973 at the Akademie der Künste.

Works

;Operas and other stage works

''Faust: "Un travestimento"'' (libretto by the composer, after E. Sanguineti) (1986–90)

''Prospero'' (after William Shakespeare's play ''The Tempest'')

;Orchestra

Symphony No.1 (1974–75)

''Variazioni'' (1977)

Symphony No.2 (1981)

''Framework'', for 2 pianos and orchestra (1982–83)

''La Notte di S. Silvestro'' (1983-84)

Concerto for Viola and Orchestra (1995)

;Vocal Works

''Alle fronde dei Salici'', for 12 voices (to texts by Salvatore Quasimodo, 1977)

''Tui-Gesänge'', for soprano and 5 instruments (flute, clarinet, piano, violin and cello; to texts by Albrecht Betz,1977)

''Hasta que Caigan las Puertas del Odio'', for 16 voices (to texts by Pablo Neruda, 1977)

''E subito riprende il viaggio'', for 5 voices (to texts by Ungaretti, 1979-80)

''Majakowski'', cantata for bass, mixed choir and 7 instruments (to texts by Mayakovsky, 1979-­80)

''Mythenasche'', for soprano, baritone, mixed choir and chamber orchestra (to texts by A. Betz, 1981)

;Chamber music

''Proporzioni'', for 4 trombones (1968–69)

''Non requiescat, musica in memoria di Hanns Eisler'', for chamber orchestra (1973)

''Gespräch über Bäume'', for eight instrumentalists (1976)

''Klavierduo'', for 2 pianos (1978–89)

''Einklang'', for oboe, cor anglais, horn, trombone, percussion, piano, viola, cello, and double-bass (1980)

''Winterblumen'', for flute and harp (1982)

''Sisyphos'', for flute, clarinet, mandoline, guitar, marimba, harp, viola, and double-bass (1984)

''Sisyphos II'', for 14 instruments (1984)

''Sisifo felice'', for eight instrumentalists (1985)

''Ai piedi del faro'', for double-bass and eight instrumentalists (1986)

String Quartet No.1 ("''Quartett vom armen Mann''", 1991–92)

''Bagatelles sans et avec tonalité'', for piano four-hands (1992)

''Jahreswechsel'', for chamber ensemble (1993–94)

''Addii'', for violin, cello, and piano (1995–96)

''Infra'', for 11 instrumentalists (1997)

''Geburtstagsgruß für Thomas und Bernhard'', for violin and viola (2003)

;Solo instrument

''Albumblätter'', for piano (1967–68)

''Wiederkehr'', for piano (1971)

''Variazioni su "Avanti popolo alla riscossa"'', for piano (1977)

''Essay 2'', for bass clarinet (1979)

''Schattenspiel'', for bass flute (1984)

''A chi fa notte il giorno'', for double-bass (1993)

''Rnnili'', for viola solo (1995)

''Bab'', for viola solo (2003)

Sources

Ramazzotti, Marinella (2002). "Lombardi, Luca". ''The New Grove Dictionary of Music and Musicians'', ed. S. Sadie and J. Tyrrell. London: Macmillan.

Lombardi, Luca (1982). "Construction of Freedom". ''Perspectives of New Music'', Vol. 22, No. 1/2 (Autumn, 1983 - Summer, 1984), pp. 253-264. Translated by Franco Betti

Category:1945 births Category:Living people Category:Italian composers

de:Luca Lombardi it:Luca Lombardi ja:ルカ・ロンバルディ