Word: ingmar
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Dates: during 1970-1979
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HUMILIATION, guilt, psychic imprisonment, schizophrenia, cosmic alienation, cruelty, suicide, cancer of the soul: these are not unlikely concerns for a new film by Ingmar Bergman. Through a Glass Darkly, The Silence, Persona, and Hour of the Wolf have all developed these themes, groped for them, probed them, pried them loose from their existential moorings, and held them up for all to see against the ambiguous Scandinavian sky in their full mystery and complexity. The Passion of Anna, however, attempts no exploration into these. It presents them, parades them, but asks no questions, suggests no solutions...
...were disappointing, but that did not slow him down. I Love My Wife is already in the can, and three weeks ago he finished filming Little Murders. To cap it all, Elliott Gould, 31, will star in the first English-speaking film (The Touch) by the great Swedish director Ingmar Bergman. It took only one film-Getting Straight -for Bergman to decide on the American actor. "I fell for him immediately. He's fantastic." Gould has yet to meet his new director, but a phone conversation with the maestro was enough to overwhelm the easygoing actor: "I felt like...
This dreamlike visual overture is a stroke worthy of that renowned master of the cinematic art, Ingmar Bergman. And no wonder. The Hedda unveiled by the National Theater troupe last week is a special restaging by Bergman of his 1968 Stockholm production. In it, the play moves out of the sitting room and into the psyche. Bergman's stage is relatively bare and expressionistic, luridly lit when it is not dark. On the peripheries of many of his scenes, characters who are supposed to be offstage linger to eavesdrop on the proceedings that concern them. Somewhat eerily, this shifts...
...quality of an obsession should be measured not only by its height but also by its length. Ingmar Bergman's towering concern has endured a lifetime, and it has centered on a single theme: the silence of God. Of late, that silence has been as clamorous as a scream in such films as The Hour of the Wolf and Shame. With The Passion of Anna the Lord takes discernible form. "This time," the narrator declares, "his name was Andreas." But given the trappings of speech and senses, the earthly incarnation remains spiritually mute...
...effect," says Wrede, "is supposed to come from focusing on details-cadging an extra bowl of food, finding half a cigarette, making a compassionate gesture. We're being very wary of pretty pictures, those Zhivago-style long wide shots." His cameraman is Ingmar Bergman's cinematographer, Sven Nykvist, whose austere lens could seek out the gloom in a travel poster...