Word: bergman
(lookup in dictionary)
(lookup stats)
Dates: all
Sort By: most recent first
(reverse)
Dreams (Swedish). In the second installment of Director Ingmar Bergman's lewdly hilarious trilogy (the others: A Lesson in Love, Smiles of a Summer Night), the war between the sexes rages in full fury, with the female proving, to Bergman's obvious delight, the far more cunning and vigorous specimen...
Dreams (Swedish). In the second installment of Director Ingmar Bergman's lewdly hilarious trilogy (the others: A Lesson in Love, Smiles of a Summer Night), the war between the sexes rages in full fury, with the female proving, to Bergman's obvious delight, the far more cunning and vigorous specimen...
Dreams (Sandrews; Janus Films) is the second installment of the shrewdly ironic, lewdly hilarious trilogy, beginning with A Lesson in Love (1953) and ending with Smiles of a Summer Night (1955), in which Sweden's Ingmar Bergman (TIME cover, March 14) submits his front-line report on the war between the sexes. In Lesson, the war begins with crockery barrages. In Smiles, it ends in a saraband of sophisticated satire that the winners and the losers dance together. In Dreams, the last of the three released in the U.S., the battle rages in full fury, and Bergman zooms above...
...both instances, the female proves deadlier-and livelier-than the male. The girl has more cunning, the woman more spirit, and in both instances Bergman obviously relishes the idea of feminine superiority. His actors, as usual, are excellent. And his direction of the camera is inspired-the long, slow opening scene in the photography studio, several minutes of wordless but pregnant silence, is a wonderful set piece of visual exposition. Bergman has said more important things than he says in this picture, but he has seldom said anything in a more vigorous and suitable style...
...clutter of independent producers and corporate stars. But Hollywood's economic revolution soon developed into a worldwide revolution of another kind. In France and Poland, a band of gifted and dedicated young moviemakers, inspired by the example of Italy's neo-realists and Sweden's Ingmar Bergman, plunged into a daring and promising renovation of the art of film. Working on tiny budgets without benefit of studio facilities or well-known actors, the men of the Nouvelle Vague (TIME, Nov. 16) in a single year produced at least three pictures-Black Orpheus, The 400 Blows, Hiroshima...