Word: ingmar
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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...
...Ingmar Bergman awoke from a tortured sleep, seized a camera and began to film what he had just been dreaming. Reality is distorted and logic becomes madness in The Ritual, Bergman's most nightmarish fantasy since The Silence. In the claustrophobic office of some anonymous bureaucrat, three actors (Ingrid Thulin, Anders Ek and Gunnar Böornstrand) perform a bizarre masque, part psychodrama, part sexual charade. They are like the mummers from The Seventh Seal or the circus performers from The Naked Night imprisoned in an allegory of doom. Inevitably the object of the masque is death...
...front of the museum fly 14 flags representing the nationalities of the patrons who contributed funds to build it. Among them are Novelist Alberto Moravia, Philosopher Martin Heidegger and Composer Igor Stravinsky, Film Directors John Huston, Ingmar Bergman and Jean-Luc Godard, Diplomat George Kennan and Heart Surgeon Dr. Christiaan Barnard. For those who had thought of Manzù as a strictly religious artist, the museum's collection may be a minor revelation. It demonstrates Manzù's uniquely quattrocento humanistic outlook, a faith and joy in life that could comprehend both genuine piety and unabashed lustiness. Besides...