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...TIME pointed out [Nov. 15], there has been a strong reaction in Sweden against the perversion and dirt of Ingmar Bergman's film The Silence...

Author: /time Magazine | Title: Letters: Nov. 29, 1963 | 11/29/1963 | See Source »

...Ingmar Bergman...

Author: /time Magazine | Title: Movies Abroad: Sex & the Swedish Master | 11/15/1963 | See Source »

...summed up in a letter to the daily Aftonbladet. "Is a film immoral," asked the writer, "just because it shows immoral people?" The point remains moot in smoldering Stockholm. Bergman himself has had no disturbing second thoughts. Silence is the third segment of a trilogy about God, according to Ingmar. The first two parts were Through a Glass Darkly and Winter Light. Silence is intended to depict the cold horror of human existence when God averts his face and there is no light...

Author: /time Magazine | Title: Movies Abroad: Sex & the Swedish Master | 11/15/1963 | See Source »

...largely been achieved by movies from abroad, by an array of vigorous and original creators who live and work in every quarter of the globe. At the heart of the new movement is a hardy little band of inspired pioneers: Japan's Akira Kurosawa (Rashomon); Sweden's Ingmar Bergman (Wild Strawberries); France's Alain Resnais (Hiroshima, Man Amour) and Francois Truffaut (The 400 Blows); Italy's Federico Fellini (La Dolce Vita), Michelangelo Antonioni (L'Avventura) and Luchino Visconti (Rocco and His Brothers); England's Tony Richardson (Look Back in Anger); Poland's Andrzej...

Author: /time Magazine | Title: Cinema: A Religion of Film | 9/20/1963 | See Source »

Death of the Heart. Kurosawa made moviegoers sit up and take notice, and the next thing they noticed was Ingmar Bergman. As a man he didn't look like much-just a gangling, green-eyed, snaggle-toothed son of a Swedish parson. But as an artist he was something unprecedented in cinema: a metaphysical poet whose pictures are chapters in a continuing allegory of the progress of his own soul in its tortured and solitary search for the meaning of life, for the experience of God. In his early films (Illicit Interlude, Naked Night), Bergman struggles to free himself...

Author: /time Magazine | Title: Cinema: A Religion of Film | 9/20/1963 | See Source »

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