Word: bergman
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...prolonged visit, waiting for the birth of his grandson. The father is a grizzled old Yankee, and ideas predictably clash with those of his equally non-conformist but distastefully aesthetic daughter and her would-be husband (the couple never marry). In a climax as overwrought as the fruitiest of Bergman-either Ingrid or Ingmar-ex-med student Danny delivers his son without a doctor's aid, while fending off his 'father-in-law's' drunken attempts to break into the delivery-room. Just as the babe sees light, its grandfather brains himself on a lampstand...
...love of man end and the love of God begin? Can an individual's passion be divided between the two without disaster to man or affront to God? Does God demand terrible sacrifice as atonement for an innocent appetite for earthly life? These are questions that Ingmar Bergman has grappled with in many of his 31 bleak, brooding films. In The Act of the Heart, Canadian Producer-Writer-Director Paul Almond tries to explore the same problems, while simultaneously creating a St. Joan-like allegory of a country girl's purity and passion...
...Ivan Turgenev's novella, First Love is the deceptively elemental narrative of an adolescent smitten by his father's mistress. "It is a story unusually lit with affection and nature," says Schell. "I decided only one photographer could really do it-Sven Nykvist, the artist who does Bergman's films. When he agreed I knew the picture would happen, and that it would work." Schell's instinct has proved infallible. Nykvist has filled the film with indelible imagery. The sunlight is a featured player of humor and warmth. Interiors seem to exhale melancholy. Weightless figures hover...
...gone for Alexandre's version of the style; Elizabeth Taylor and Sophia Loren settled for Apelike wigs. Alba of Rome's Alba & Francesca (who fittingly names the cut "dégradé") has left Queen Anne Marie of Greece a shaggy exile, and last week even Ingrid Bergman went Ape at the hands of Giorgio of the Via Borgognona...
...only two offerings of the current London theater do script and staging mesh at a truly first-rate level: Ingmar Bergman's production of Hedda Gabler and Jonathan Miller's of The Merchant of Venice, both for the National Theater. Yet even these are star vehicles, Hedda for Maggie Smith, and Merchant for Laurence Olivier as Shylock (at least until recently when a thrombosis forced him off the stage for three months). In most of London's other notable productions, playwrights and directors more or less suffer stellar eclipses...