Ingmar Bergman

Ingmar Bergman
Ingmar Bergman during production of Wild Strawberries (1957)
Born	Ernst Ingmar Bergman
Years active	1944–2005
Spouse(s)	Else Fisher (1943–1945) Ellen Lundström (1945-1950) Gun Grut (1951–1959) Käbi Laretei (1959–1969) Ingrid von Rosen (1971–1995)
Children	Lena Bergman (b. 1943) Eva Bergman (b. 1945) Jan Bergman (b. 1946) Mats Bergman (b. 1948) Anna Bergman (b. 1948) Ingmar Bergman Jr. (b. 1951) Maria von Rosen (b. 1959) Daniel Bergman (b. 1962) Linn Ullmann (b. 1966)
Awards	NYFCC Award for Best Director 1973 Viskningar och rop 1974 Scener ur ett äktenskap 1983 Fanny och Alexander NYFCC Award for Best Screenplay 1973 Viskningar och rop

Ingmar Bergman^ⓘ (IPA: ['ɪŋmar 'bærjman] in Swedish, but usually IPA: [ˈbɝgmən] in English) (July 14 1918 – July 30 2007) was a Swedish film, stage, and opera director. Ingmar Bergman found bleakness and despair as well as comedy and hope in his explorations of the human condition. He is regarded as one of the most important masters of modern cinema.

He directed 62 films, most of which he wrote, and directed over 170 plays. Some of his internationally known favorite actors were Liv Ullmann and Max von Sydow. Most of his films were set in the landscape of his native Sweden. The themes were often bleak, dealing with illness and insanity.

Bergman was active for more than 60 years, but his career was seriously threatened in 1976 when he suspended a number of pending productions, closed his studios, and went into self-imposed exile in Germany for eight years following a botched criminal investigation for alleged income tax evasion.

Biography

Ingmar Bergman was born in Uppsala, Sweden, to Erik Bergman, a Lutheran minister and later chaplain to the King of Sweden, and his wife, Karin (née Åkerblom). He grew up surrounded by religious imagery and discussion. His father was a rather conservative parish minister and strict family father: 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 writes in his biography Laterna Magica,

Ingmar's father, Pastor Erik Bergman, pictured at Hedvig Eleonora Church in Stockholm

File:Time-Magazine Ingmar Bergman.jpg

Bergman appeared on the cover of the TIME Magazine edition of March 14, 1960

"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."

In 1934, at the age of 16, Bergman was sent to spend the summer vacation with family friends in Germany. It is believed that he attended a Nazi rally in Weimar at which he saw Adolf Hitler. He later wrote in his biography Laterna Magica about the visit to Germany, 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".

He performed two five-month stretches of mandatory military service and studied Art and Literature at Stockholm University College (the later Stockholm University), but without graduating. Instead, he developed an interest in theatre and later in cinema (though he had become a "genuine movie addict" by the early 1930s).

Although he grew up in a devout Lutheran household, Bergman stated that he lost his faith at age eight but came to terms with this fact only when making Winter Light.

Since the early sixties Bergman lived much of his life on the island of Fårö, Gotland, Sweden, where he made a number of his films.

Tax evasion charges and exile

1976 was one of the most traumatic years in the life of Ingmar Bergman. On January 30, 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 breakdown 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 SEK 500,000 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 March 23,1976, the special prosecutor Anders Nordenadler dropped the charges against Bergman, saying that the alleged "crime" had no legal basis, comparing the case to the bringing of "charges against a person who is stealing his own car". 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 offered some 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 anything wrong.

Even though the charges were dropped, Bergman was for a while disconsolate, fearing he would never again return to directing. He eventually recovered from the shock, but 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 barren Baltic 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 caused by Bergman's exile to SEK 10 million and hundreds of jobs lost.

Return from Exile

Although he continued to operate from Munich, by mid-1978, Ingmar Bergman seemed to have overcome some of his bitterness toward his motherland. In July of that year he was back in Sweden, celebrating his 60th 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 film making.

However, he remained in Munich until 1984. In one of the last major interviews with Bergman, done 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 film making in December 2003. He had hip surgery in October 2006 and was having a difficult recovery. He died at his home on Fårö, on July 30 2007, age 89, the same day that another renowned film director, Michelangelo Antonioni, also died.

Film Work

Many filmmakers worldwide, including Americans Woody Allen, David Lynch, Stanley Kubrick , and Robert Altman, the Danish director Lars Von Trier, the Polish director Krzysztof Kieślowski, the Russian director Andrei Tarkovsky , and the South Korean director Chan-wook Park, have cited the work of Bergman as a major influence on their own work.

Woody Allen said Bergman was "probably the greatest film artist, all things considered, since the invention of the motion picture camera."

Career

File:Torment-caligula.jpg

Classroom scene from Torment (1944): The Latin teacher Caligula (Stig Järrel) and Jan-Erik Widgren (Alf Kjellin)

Bergman first began working in film in 1941 rewriting scripts, but his first major accomplishment was in 1944 when he wrote the screenplay for Torment/Frenzy (Hets), a film directed by Alf Sjoberg. Along with writing the screenplay he was also given a position as assistant director to the film. In his second autobiography 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) in 1953.

Bergman first achieved international success with Smiles of a Summer Night (Sommarnattens leende) (1955), which won for "Best poetic humor" and was nominated for the Golden Palm at Cannes the following year. This was followed two years later with two of Bergman's most well known films, The Seventh Seal (Det sjunde inseglet) and Wild Strawberries (Smultronstället). The Seventh Seal won a special jury prize and was nominated for the Golden Palm at Cannes and Wild Strawberries won numerous awards for Bergman and its star, Victor Sjöström.

Bergman continued to be productive for the next 20 years. In the early 60's he directed a trilogy that explored the theme of faith and doubt in God, Through a Glass Darkly (i en Spegel - 1961), Winter Light (Nattvardsgasterna - 1962), and The Silence (Tystnaden - 1963). In 1966 he directed Persona , a film that he himself considered one of his most important films. While the film won few awards many consider it his masterpiece and one of the best films ever produced. Bergman himself considers this film along with Cries and Whispers (Viskningar och rop - 1972) to be his two most important films. 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 TV 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 his native country. He shut down his film studio on the island of Faro and went into exile. He briefly considered the possibility of working in America and his next film, The Serpent's Egg (1977) was a German-American production and his first and only English language film. This was followed a year later with a British-Norwegian co-production of Autumn Sonata (Höstsonaten - 1978). The film starred Ingrid Bergman and was the one notable film of this period. 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), a film that, unlike his previous productions, was aimed at a broader audience, but also critizised within the profession for being shallow and commercial. 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 theaters. The last such work was Saraband (2003), a sequel to Scenes from a Marriage and directed by Bergman when he was 84 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, 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 TV movie (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 (b. 1966).

File:Ingmar Bergman and Sven Nykvist.jpg

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

A great number of Bergman's interior scenes were filmed at the Filmstaden studios north of Stockholm.

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 without interruption or comment until post-production discussion of the next day's work.

When viewing daily rushes, Bergman stressed the importance of being critical but unemotional, 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.

Technique

As a director, Bergman favored intuition over intellect, and chose to be unaggressive in dealing with actors. Bergman saw himself as having a great responsibility toward them, viewing them as collaborators often in a psychologically vulnerable position. He stated that a director must be both honest and supportive in order to allow others their best work.

His films usually deal with existential questions of mortality, loneliness, and faith; they also tend to be direct and not overtly stylized. Persona, one of Bergman's most famous films, is unusual among Bergman's work in being both existentialist and avant-garde.

While his themes could be cerebral, sexual desire found its way to the foreground of most of his movies, whether the setting was a medieval plague (The Seventh Seal), upper-class family life in early 20th century Uppsala (Fanny and Alexander) or contemporary alienation (The Silence). His female characters were usually more in touch with their sexuality than their men were, and were not afraid to proclaim it, with the sometimes breathtaking overtness (e.g., Cries and Whispers) that defined the work of "the conjurer," as Bergman called himself in a 1960 Time magazine cover story. In an interview with Playboy magazine 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. Some of his major actresses became his actual mistresses as his real life doubled up on his movie-making one.

Love — twisted, thwarted, unexpressed, repulsed — was the leitmotif of many of his movies, beginning, perhaps, with Winter Light, where the pastor's barren faith is contrasted with his former mistress' struggle, tinged with spite as it is, to help him find spiritual justification through human love.

Bergman usually wrote his own scripts, 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 structured, 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 intentions, 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 exact dialogue.

"Message"

Bergman encouraged young directors not to direct any film that does not have a "message," but rather to wait until one comes along that does, yet admitted that he himself was not always sure of the message of some of his films. By Bergman's own accounts, 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.)

Introspective view on career

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

When asked about his movies, he 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. While he denounced the critical classification of three of his films (Through a Glass Darkly, Winter Light, and The Silence) as a predetermined trilogy, saying he had no intention of connecting them and could not see any common motifs in them , this contradicts the introduction Bergman himself wrote in 1964 when he 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 sees the films as a trilogy: they have released all three on DVD individually and as a boxed set. It should be noted that Bergman, like many creative artists, was sometimes apt to express himself in a sweeping way, even on his own work, and he stated on numerous occasions (for example in the interview book Bergman on Bergman) that The Silence meant the end of an era when religious questions were a major concern in his films.

Theatrical work

Although Bergman was universally famous for his contribution to cinema, he was an active and productive stage director all his life. He first work after graduation was as a trainee-director at a Stockholm theater. At 26 he became the youngest theater manager in Europe at the Helsingborg city theatre. He stayed at Helsingborg for 3 years and then became the director at Gothenburg city theater from 1946 to 1949.

He was the 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. He was the director of the Royal Dramatic Theatre in Stockholm &mdash from 1960 to 1966 and manager from 1963 to 1966.

After he left Sweden because of the tax evasion incident he was the director of the Residenz Theatre of Munich, Germany (1977-84). He remained active in theater through the 90's.

Family life

Bergman was married five times:

• 25 March 1943 – 1945, to Else Fischer, 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 (née Ingrid Karlebo) (widowered). Children:
  • Maria von Rosen, author, born 1959.

The first four marriages ended in divorce, while the last ended when his wife died of stomach cancer.

He was also the father of writer Linn Ullmann, with actress Liv Ullmann. In all, Bergman had nine children that he has acknowledged to be his own. He was married to all but one of the mothers of his children. His last wife was the mother of Maria von Rosen, who was born twelve years before the marriage.

In addition to his marriages, Bergman also had relationships with Harriet Andersson 1952-55, Bibi Andersson 1955-59 and Liv Ullmann 1965-70.

Awards

Academy Awards

In 1971, Bergman received The Irving G. Thalberg Memorial Award at the Academy Awards ceremony. Three of his films have won the Academy Award for Best Foreign Language Film: The Virgin Spring in 1961; Through a Glass Darkly in 1962; and Fanny and Alexander in 1984.

• Nominated: Best Original Screenplay, Wild Strawberries (Smultronstället) (1960)
• Nominated: Best Original Screenplay, Through a Glass Darkly (Såsom i en spegel) (1963)
• 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) (1984)
• Nominated: Best Director, Fanny and Alexander (Fanny och Alexander) (1984)

BAFTA Awards

• Nominated: Best Film from any Source, The Magician (Ansiktet) (1960)
• Nominated: Best Foreign Film, Fanny and Alexander (Fanny och Alexander) (1984)

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

• Nominated: Best Director, Fanny and Alexander (Fanny och Alexander) (1984)

Work

Filmography

• Crisis (1946) (Kris)
• It Rains on Our Love (1946) (Det regnar på vår kärlek)
• A Ship to India (1947) (Skepp till Indialand)
• Music in Darkness (1948) (Musik i mörker)
• Port of Call (1948) (Hamnstad)
• Prison (1949) (Fängelse)
• Thirst/Three Strange Loves (1949) (Törst)
• This Can't Happen Here (1950) (Sånt händer inte här)
• To Joy (1950) (Till glädje)
• Summer Interlude (1951) (Sommarlek)
• Secrets of Women (1952) (Kvinnors väntan)
• Sawdust and Tinsel (1953) (Gycklarnas afton)
• Summer with Monika (1953) (Sommaren med Monika)
• A Lesson in Love (1954) (En lektion i kärlek)
• Dreams (1955) (Kvinnodröm) aka Journey Into Autumn
• Smiles of a Summer Night (1955) (Sommarnattens leende)
• The Seventh Seal (1957) (Det sjunde inseglet)
• Wild Strawberries (1957) (Smultronstället)
• The Magician/The Face (1958) (Ansiktet )
• Brink of Life (1958) (Nära livet)
• The Devil's Eye (1960) (Djävulens öga)
• The Virgin Spring (1960) (Jungfrukällan) (won Academy Award for Best Foreign Language Film)
• Through a Glass Darkly (1961) (Såsom i en spegel) (won Academy Award for Best Foreign Language Film)
• Winter Light (1962) (Nattvardsgästerna)
• The Silence (1963) (Tystnaden)

• All These Women (1964) (För att inte tala om alla dessa kvinnor)
• Persona (1966)
• Hour of the Wolf (1967) (Vargtimmen)
• Shame (1968) (Skammen)
• The Rite (1968) (Riten) (TV)
• The Passion of Anna (1969) (En passion)
• The Touch (1971) (Beröringen)
• Cries and Whispers (1973) (Viskningar och rop) (won Academy Award for Best Cinematography)
• Scenes from a Marriage (1973) (Scener ur ett äktenskap)
• The Magic Flute (1975) (Trollflöjten), first shown on Swedish television, followed by a cinematic release
• Face to Face (1976) (Ansikte mot ansikte)
• The Serpent's Egg (1977) (Das Schlangenei)
• Autumn Sonata (1978) (Höstsonaten)
• From the Life of the Marionettes (1980) (Aus dem Leben der Marionetten)
• Fanny and Alexander (1982) (Fanny och Alexander) (won 4 Academy Awards, including one for Best Foreign Language Film)
• Karin's Face (1984) (Karins ansikte)
• After the Rehearsal (1984) (Efter repetitionen) (TV)
• In The Presence of a Clown (1997) (Larmar och gör sig till) (TV)
• Saraband (2003) (TV)

Screenwriting

• Torment (Hets) (1944) (Directed by Alf Sjöberg)
• Woman Without a Face (Kvinna utan ansikte) (1947) (Directed by Gustaf Molander)
• Eva (1948) (Directed by Gustaf Molander)
• While the City Sleeps (Medan staden sover) (1950) (Directed by Lars Erik Kjellgren)
• Divorced (Frånskild) (1951) (Directed by Gustaf Molander)

• Last Pair Out (Sista paret ut) (1956) (Directed by Alf Sjöberg)
• The Pleasure Garden (Lustgården) (1961) (Directed by Alf Kjellin)
• The Best Intentions (Den goda viljan) (1992) (Directed by Bille August)
• Sunday's Children (Söndagsbarn) (1992) (Directed by Daniel Bergman)
• Private Confessions (Enskilda samtal) (1996) (Directed by Liv Ullmann)
• Faithless (Trolösa) (2000) (Directed by Liv Ullmann)

Stage productions and radio theatre credits

List of plays that Ingmar Bergman directed for the stage and/or radio theatre as per

• Rosmersholm (radio theatre; 2004)
• The Pelican / Death Island (radio theatre; 2003)
• Ghosts (Dramaten; 2002)
• John Gabriel Borkman (radio theatre; 2001)
• Mary Stuart (Dramaten; 2000)
• The Ghost Sonata (Dramaten; 2000)
• Storm Weather (radio theatre; 1999)
• The Imagemakers (Dramaten; 1998)
• The Bacchae (Dramaten; 1996)
• Harald & Harald (Dramaten; 1996)
• Yvonne, Princess of Burgundy (Dramaten; 1995)
• The Misanthrope (Dramaten; 1995)
• The Winter's Tale (Dramaten; 1994)
• Goldberg Variations (Dramaten; 1994)
• The Time and the Room (Dramaten; 1993)
• The Last Gasp (SFI/Dramaten; 1993)
• Peer Gynt (Dramaten; 1991)
• The Bacchae (Royal Swedish Opera/SVT/CD; 1991)
• Miss Julie (BAM; 1991)
• A Spiritual Matter (radio theatre; 1990)
• A Doll's House (Dramaten; 1989)
• Madame de Sade (Dramaten; 1989 - also TV theatre 1992)
• Long Day's Journey into Night (Dramaten; 1988)
• Hamlet (Dramaten; 1986)
• A Dream Play (Dramaten; 1986)
• Miss Julie (Dramaten; 1985)
• John Gabriel Borkman (Residenztheater München; 1985)
• A Hearsay (radio theatre; 1984)
• The Dance of the Rainsnakes (Residenztheater München; 1984)
• King Lear (Dramaten; 1984)
• Dom Juan (Landestheater Salzburg/Cuvilliéstheater München; 1983)
• Nora/Julie/Scenes from a Marriage (Residenztheater/Marstall; 1981)
• Yvonne, Princess of Burgundy (Residenztheater München; 1980)
• Hedda Gabler (Residenztheater München; 1979)
• Tartuffe (Residenztheater München; 1979)
• Three Sisters (Residenztheater München; 1978)
• A Dream Play (Residenztheater München; 1977)
• Twelfth Night, or What You Will (Dramaten; 1975)
• To Damascus (Dramaten; 1974)
• The Misanthrope (Det Kongelige Teater/TV; 1973)
• The Ghost Sonata (Dramaten; 1973)
• The Wild Duck (Dramaten; 1972)
• Show (Dramaten; 1971)
• Hedda Gabler (Royal National Theatre/Cambridge Theatre; 1970)
• The Dream Play (Dramaten; 1970)
• Woyzeck (Dramaten; 1969)
• Six Characters in Search of an Author (Nationaltheatret; 1967)
• School for Wives/The Criticism of the School for Wives (Dramaten; 1966)
• The Investigation (Dramaten/radio theatre; 1966)
• Tiny Alice (Dramaten; 1965)
• Don Juan (Dramaten at Chinateatern; 1965)
• Hedda Gabler (Dramaten; 1964)
• Three Knives from Wei (Dramaten; 1964)
• The Legend (Dramaten; 1963)
• Who's Afraid of Virginia Woolf? (Dramaten; 1963)
• The Rake's Progress (Royal Swedish Opera; 1961)
• Playing with Fire (radio theatre; 1961)
• The Seagull (Dramaten; 1961)
• First Warning (radio theatre; 1960)
• The People of Värmland (Malmö City Theatre; 1958)
• He Who Nothing Owns (radio theatre; 1958)
• Ur-Faust (Malmö City Theatre; 1958)
• The Legend (Malmö City Theatre/radio theatre; 1958)
• The Misanthrope (Malmö City Theatre; 1957)
• Counterfeiters (radio theatre; 1957)
• The Prisoner (radio theatre; 1957)
• Peer Gynt (Malmö City Theatre; 1957)
• Erik XIV (Malmö City Theatre; 1956)
• Portrait of a Madonna (radio theatre; 1956)
• Cat on a Hot Tin Roof (Malmö City Theatre; 1956)
• The Tunnel (radio theatre; 1956)
• Everyman (radio theatre; 1956)
• Vox humana (radio theatre; 1956)
• The Poor Bride (Malmö City Theatre; 1956)
• Grandma and Our Lord (radio theatre; 1956)
• Leah and Rachel (Malmö City Theatre; 1955)
• The Monk Strolls in the Meadow (at ?; 1955)
• The Ball (radio theatre; 1955)
• Wood Painting (Malmö City Theatre, Intiman; 1955)
• The Tea House of the August Moon (Malmö City Theatre; 1955)
• Don Juan (Malmö City Theatre; 1955)
• The Apple-Tree Table (radio theatre; 1954)
• Twilight Games (Malmö City Theatre; 1954)
• The Merry Widow (Malmö City Theatre; 1954)
• Wood Painting (radio theatre; 1954)
• The Ghost Sonata (Malmö City Theatre; 1954)

• The Castle (Malmö City Theatre, Intiman; 1953)
• Six Characters in Search of an Author (Malmö City Theatre, Intiman; 1953)
• The Dutchman (radio theatre; 1953)
• A Caprice (radio theatre; 1953)
• Unto My Fear (radio theatre; 1953)
• The Restless Heart (radio theatre; 1952)
• The Crown Bride (Malmö City Theatre; 1952)
• The Day Ends Early (radio theatre; 1952)
• Easter (radio theatre; 1952)
• Blood Wedding (radio theatre; 1952)
• Murder at Barjärna (Malmö City Theatre; 1952)
• Crimes and Crimes (radio theatre; 1952)
• The Guiltburden of the Night (radio theatre; 1952)
• The People of Värmland (radio theatre; 1951)
• The Rose Tattoo (Norrköping-Linköping City Theatre; 1951)
• Summer (radio theatre; 1951)
• The Country Girl (Folkparkerna; 1951)
• The City (radio theatre; 1951)
• Light in the Schack (Dramaten; 1951)
• A Shadow / Medea (Intiman; 1950)
• The Three-penny Opera (Intiman; 1950)
• Divine Words (Gothenburg City Theatre; 1950)
• Come Up Empty (radio theatre; 1949)
• A Streetcar Named Desire (Gothenburg City Theatre; 1949)
• The Restless Heart (Gothenburg City Theatre; 1949)
• Mother Love (at ?; 1948)
• Thieves' Carnival (Gothenburg City Theatre; 1948)
• Lodolezzi Sings (radio theatre; 1948)
• Macbeth (Gothenburg City Theatre; 1948)
• Dancing on the Pier (Gothenburg City Theatre; 1948)
• Playing with Fire (radio theatre; 1947)
• Unto My Fear (Gothenburg City Theatre; 1947)
• The Waves (radio theatre; 1947)
• Magic (Gothenburg City Theatre; 1947)
• The Dutchman (radio theatre; 1947)
• The Day Ends Early (Gothenburg City Theatre; 1947)
• Summer (radio theatre; 1946)
• Caligula (Gothenburg City Theatre; 1946)
• Rachel and the Cinema Doorman (Malmö City Theatre; 1946)
• Requiem (Helsingborg City Theatre/radio theatre; 1946)
• The Pelican (Malmö City Theatre, Intiman; 1945)
• Rabies (Helsingborg City Theatre/radio theatre; 1945)
• Jacobowsky and the Colonel (Helsingborg City Theatre; 1945)
• Reduce Morals (Helsingborg City Theatre; 1945)
• The Legend (Helsingborg City Theatre; 1945)
• Kriss-Krass-Filibom: New Year's Cabaret (Helsingborg City Theatre; 1945)
• The Tinder Box (Helsingborg City Theatre; 1944)
• Macbeth (Helsingborg City Theatre; 1944)
• When the Devil Makes an Offer (Helsingborg City Theatre; 1944)
• The Ascheberg Widow at Wittskövle (Helsingborg City Theatre; 1944)
• Little Red Riding Hood (Boulevardteatern; 1944)
• The Gambling Hall/Mr. Sleeman Cometh (Borgarskolan; 1944)
• The Hotel Room (Boulevardteatern; 1944)
• The Fun Fair (Kårhusscenen; 1943)
• Niels Ebbesen (Borgarskolan; 1943)
• En däjlig rosa (A beautiful rose) (Folkparkerna; 1943)
• Geography and Love (Folkparkerna; 1943)
• Just Before Awakening (Kårhusscenen; 1943)
• U-boat 39 (Dramatikerstudion; 1943)
• When the Devil Makes an Offer (SU - Student Theatre; 1943)
• A Midsummer Night's Dream (Norra Latin; 1942)
• Death of Punch (SU - Student Theatre; 1942)
• Beppo the Clown (Medborgarhuset/Folkparkerna; 1942)
• Little Red Riding Hood (Medborgarhuset/Folkparkerna; 1942)
• Sniggel snuggel / The Three Stupidities (Medborgarteatern - Sagoteatern; 1942)
• Bluebird (Medborgarteatern - Sagoteatern; 1941)
• A Midsummer Night's Dream (Medborgarteatern - Sagoteatern; 1941)
• A Ghost Sonata (Medborgarteatern; 1941)
• The Tinder Box (Medborgarhuset; 1941)
• The Father (Folke Walder's tour at Kårhusscenen; 1941)
• Swanwhite (Mäster Olofs-gården; 1940)
• The Merchant of Venice (Norra Latin; 1940)
• The Pelican (Kårhusscenen; 1940)
• Return (at ?; 1940)
• The Hour Glass/The Pot of Broth (Stortorget 3 IV; 1940)
• Macbeth (Mäster-Olofs-gården; 1940)
• The Black Glove (Mäster Olofs-gården; 1940)
• In Betlehem (Mäster Olofs-gården; 1940)
• The Man Who Lived His Life Over (Mäster Olofs-gården; 1939)
• Christmas/Advent (Mäster Olofs-gården; 1939)
• Autumn Rhapsody/The Romantics (Mäster Olofs-gården; 1939)
• Evening Cabaret For the Entire Family (Mäster Olofs-gården; 1939)
• Lucky Per's Journey (Mäster Olofs-gården; 1939)
• The Hangman/The Golden Chariot (Mäster Olofs-gården; 1939)
• Outward Bound (Mäster Olofs-gården; 1938)

Documentaries

• Fårö Documentary (1969) (Fårö dokument)
• Fårö Documentary 1979 (1979) (Fårö-dokument 1979)
• Fanny and Alexander Documentary (1985) (Dokument Fanny och Alexander)

See also

• Cinema of Sweden
• List of directors
• List of film collaborations

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

All of Bergman's original screenplays for films directed by himself, from Through a Glass Darkly onwards — and the screenplays he has penned since the 1980s for other directors — have been published in Swedish and most of them translated into English and other languages. Some of his screenplays have also come to use in stage theatre, often without the knowledge or license of the author (e.g. Scenes from a Marriage, Smiles of a Summer Night, After the Rehearsal).

In 1968, when the Swedish film magazine Chaplin published an "anti-Bergman issue" to clear the air from the slightly suffocating presence of the genius director, who was collecting Oscars and Palmes d'Or by the handful, Bergman secretly contributed one of the more acerbic pieces, signed by "the French film critic Ernest Riffe". The word soon began to spread that he was the author himself, and though he half-heartedly denied this, in Bergman on Bergman he admits to the truth of the allegation.

External links

Overviews

• Ingmar Bergman at IMDb
• Ingmar Bergman at the TCM Movie Database
• Ingmar Bergman Face to Face
• The Ingmar Bergman Foundation
• A presentation of Ingmar Bergman from the website Sweden.se.
• Bergmanorama: The magic works of Ingmar Bergman
• The Religious Affiliation of Ingmar Bergman
• Senses of Cinema: Great Directors Critical Database
• Wings Of Desire Bergman site
• Brief biography at Kirjasto (Pegasos)
• Ingmar Bergman Swedish Posters
• Interview footage of film historian Peter Cowie speaking about Bergman and Winter Light

Interviews

• The Guardian/NFT interview with Liv Ullmann by Shane Danielson, January 23, 2001
• Bergman talks of his dreams and demons in rare interview, by Xan Brooks, The Guardian, December 12, 2001
• Interview with Sven Nyqvist - Bergman's cinematographer - on working with Bergman, 1984
• Comprehensive excerpt of a documentary about Bergman in 1972
• The legendary Playboy interview with Bergman in 1964
• Excerpt from a recent Swedish newspaper interview with Bergman, with candid opinions on the work of other directors
• Rare footage behind the scenes from the making of Saraband. Three-part video viewable free.

Other articles

• Derek Malcolm on Wild Strawberries, June 10, 1999
• Peter Bradshaw on Trolösa, The Guardian, February 9, 2001
• Robin Buss on Saraband in the TLS, October 14, 2005
• Twin visionaries of a darker art, The Guardian, August 5, 2007
• Ingmar Bergman In Revista Observaciones Filosoficas

Bibliographies

• Ingmar Bergman Bibliography (via UC Berkeley)
• Ingmar Bergman Site
• Collection of interviews with Bergman

Obituaries

• Remembering Ingmar Bergman Obituary by Daniel Peleschuk, Culture Editor for Blast Magazine
• Cinema2000 (in Portuguese)

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