Word: bergmans
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Swedish stockbrokers were as gloomy last week as characters in a bleak Ingmar Bergman movie. The Stockholm stock exchange was still and silent, idled temporarily by a total breakdown in an electronic system for registering trades. Millions of transactions being processed at the time of the crash were suddenly in limbo. Said Broker Sven Hagströmer: "It's a scandal. You can't get your money, and you can't get your stocks." Nothing so disastrous had happened to the exchange since it shut down during a financial panic in 1932 after Match King Ivar Kreuger...
...cool, blond actresses in jeopardy, and his pattern of filming became a matter of smothering the goddess of the moment with an incestuous sort of fatherly attention, and of laboring to control every detail of her life. He raged when he was deserted, as he saw it, by Ingrid Bergman after Spellbound and Notorious and by Grace Kelly after Dial "M" for Murder, Rear Window and To Catch a Thief. By 1962, when he filmed The Birds, he was treating Actress Tippi Hedren as a doll to dress, cosset and terrorize...
...children of Ingrid Bergman and Roberto Rossellini did not really understand the scandal that raged when their parents fell in love and Bergman left her husband, Dr. Fetter Lindstrom, to live unmarried with Rossellini and have a child, Roberto, by him. Isabella and her twin sister Ingrid were born in 1952, two years later, and their parents were married. But the scandal continued to haunt them. Says Isabella: "Every time Father came out with an unsuccessful film, the critics said he was old and crazy. We felt these assaults, and the intrusion of the paparazzi, very deeply, and we became...
...Bergman and Rossellini divorced when the twins were five. Although Ingrid had custody, the children moved eventually to Rome, where they lived with a nanny across the street from Rossellini's own house. Ingrid occasionally spent time there, and Pia, her daughter by her previous marriage, moved in for three years. Rossellini's three children by other alliances were often on hand. "Like all Italian children," says Isabella, "we were integrated into adult life, taken to restaurants, to the theater, doing whatever they...
Strong emotions are the very stuff of grand opera, yet film has had a hard time portraying them in all their complexity. Ingmar Bergman's The Magic Flute delighted in the playfulness of Mozart's fairy tale but missed its underlying seriousness. Joseph Losey's Don Giovanni emphasized the same composer's brooding drama but failed to locate it within the realm of the human comedy. Zeffirelli's La Traviata strikes just the right note. Visually stunning and musically thrilling, it is the finest operatic movie yet made. It should appeal even to those...