Word: ingmar
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...first few minutes of Saraband, certain viewers will slip instantly into the world of Ingmar Bergman. The immediate clue is the presence of two familiar actors, Liv Ullmann and Erland Josephson, stalwarts of the Swedish writer-director's informal repertory troupe. Here they are revisiting the roles they played in the 1972 Scenes from a Marriage, to which the new work is not so much a sequel as a descendant. There are also echoes of a dozen or more of Bergman's despairing, exhilarating films. The old themes nudge you: death, and those who aspire to it; love...
...TIME: Since Ingmar Bergman had written scripts over the past 20 years, and entrusted them to directors like yourself, I wonder what forced him back behind the camera this time...
...think the reason he did this film is because, when Erland Josephson and I did Faithless, we were joking a lot. And we made some kind of goof version of Scenes from a Marriage, showing that we were really gaga, strange, and old. And I sent it to Ingmar just...
...ULLMANN:I feel the reason that Ingmar used Johan and Marianne was not to go back to their story. It was to use people that were known, so that he did not have to introduce them, and then to make something new, which had to do with Johan's relations: the grandchild, the son and the wife's death. And Marianne is the stranger who wandered into it. Maybe she is the only one who was somewhat changed by it, by seeing and observing...
...whether or not they knew his name, moviegoers saw Ingmar Bergman films. His influence was everywhere: in the look and some of the scenes of Monty Python and the Holy Grail (inspired by The Seventh Seal), in the horror film The Last House on the Left (a remake of The Virgin Spring) and any number of Woody Allen films, including Interiors (in the manner of Cries and Whispers). On Broadway, Stephen Sondheim transposed the domestic deceptions of Smiles of a Summer Night into A Little Night Music...