Word: ingmar
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...appointment from almost everybody, except Swedes, on the tight little island of international opera. As opera directors go, he is a virtual unknown whose work has been seen outside Europe only once. At Montreal's Expo 67, his company staged productions of Tristan, Ballo in Maschera and an Ingmar Bergman-directed Rake's Progress to excellent critical acclaim. In the guessing game that followed Bing's decision to retire, Gentele's name did not figure among the popular favorites: Conductors Leonard Bernstein and Erich Leinsdorf, Impresarios Julius Rudel of the New York City Opera and Hamburg...
...incredibly cathartic, and sets up pure escapism as an ideal. Widerberg, however, in fact emerged in Sweden of the early '60's as a leader of young directors agitating against escapist cinema, for much needed social analysis, and was one of the first to attack the metaphysical hokeyness of Ingmar Bergman. He criticized Bergman's social aloofness and practice of "vertical cinema." in which the select existential few grapple with the narrow prospects of exhalation or degradation. Widerberg sets up an impressionist. ethereal lightness as the direct antithesis to symbolic heaviness and stark religiosity. Bergman's artificial lighting comes almost...
...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...
...does the 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...
...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...