Word: bergman
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Dates: during 2000-2009
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...Bergman must have been surprised at the acclaim for works so personal, they seemed like primal screams, picking at the scabs of his psyche. "The demons are innumerable, appear at the most inconvenient times and create panic and terror," he said in a 2001 interview. "But I have learned that if I can master the negative forces and harness them to my chariot, then they can work to my advantage." Through his unforgiving artistry, the interior monologues of a tortured intellectual achieved an international impact. His films spoke not just to the self-absorption of the therapy generation...
...Colbert Report has an occasional segment called "Cheating Death," which is introduced by the image of Stephen facing the hooded figure of Death over a chessboard. That's a reference to the 1957 film The Seventh Seal, a medieval morality play written and directed by Ingmar Bergman. Colbert, who switches chess pieces while Death is distracted, parodies the role of a knight (Max von Sydow) who puts his soul on the line to save a few lives during a season of plague...
...Bergman wasn't kidding. Most of his 60-some films, from his 1944 screenwriting debut with the schoolroom drama Torment through his swan song Saraband, released in the U.S. in 2005, were about the plague of the modern soul - the demons and doubts, secrets and lies that men and woman evaded but were forced to confront, to their peril. This agonized Swede was a surgeon who operated on himself. He cut into his own fears, analyzed his failings, perhaps sought forgiveness through art. He may never have found that expiation; he lived his last years alone on remote Faro island...
...Which could be why I liked it. To place a sensitive story in a male-epic genre - to dramatize feelings of angst and personal betrayal worthy of an Ingmar Bergman film, and then to dress them up in gaudy comic-book colors - is to pull off a smartly subversive drag show. With, yes, 25 mins. of fabulous fights. Peter's tussle with Sandman, and his aerial battle with the supersonic skateboarding New Goblin, are plenty snazzy. But anyone can do that; in action movies, everyone has done that. What's better, in a threequel, is rethinking the characters, the franchise...
Director Steve Stockman’s new film, “Two Weeks,” is about as funny as a good joke at a funeral—although witty, the tragedy of the situation prevents true enjoyment. Anita Bergman, played by Sally Field, is a woman dying of ovarian cancer. Her children, as well as the audience, are immediately confronted with the harsh realities of such a terrifying illness. Bergman fits in nicely with the rest of Field’s oeuvre—emotional women on the brink of considerable change. There is no detail omitted...