Word: thulin
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...reason that boys of a certain age were enthralled by Bergman's films was that he had some of the world's most beautiful and powerful actresses in his repertory company: Eva Dahlbeck, Harriet and Bibi Andersson, Ingrid Thulin, Gunnel Lindblom, Liv Ullmann, Lena Olin. These were major mesmerizers, and they all worked...
...Bergman's reputation grew, so did those of his on-screen company. He exported his actors (notably von Sydow) and actresses (Ullmann, Bibi and Harriet, Ingrid Thulin, Olin) to be glamorous staples of European art cinema and the occasional American film. But though Bergman was frequently financed by U.S. companies, he never went Hollywood; his only English-language movie, The Touch (with Elliott Gould and Bibi Andersson), was filmed in Europe...
Among the superlatives that might be tossed his way, Bergman was surely the most probing writer of women's roles, the most sympathetic director of actresses. Harriet and Bibi Andersson, Ingrid Thulin and Gunnel Lindblom caught fire in the Swede's existential dramas. He wrote searing roles for them; they gave body and soul to his ideas, becoming for a time his muses, often his lovers. Bergman's last, most lasting actress liaison was with the Norwegian actress Liv Ullmann. Her soft features and stern resolve inspired a string of stern masterworks, starting with 1966's Persona, in which...
DIED. INGRID THULIN, 77, severe, worldly Swedish actress, who lent her grave glamour to eight Ingmar Bergman films; of cancer; in Stockholm. The cool blond projected a knowing pessimism in Bergman's Wild Strawberries and The Magician, desperate longing in Winter Light and The Silence, and a mutilating self-hatred in Cries and Whispers. Though her one Hollywood film, The Four Horsemen of the Apocalypse, was a flop, she shone as a soulful socialist in Alain Resnais's La Guerre Est Finie and as a Nazi-era matriarch in Luchino Visconti's The Damned...
...afternoon, following a rehearsal of the play, the dozing Henrik is awakened by Anna. They sit on an old sofa and chat about their crossed lives and their shared art. The talk drifts to Anna's dead mother Rakel, and in the wink of a reverie, Rakel (Ingrid Thulin) appears to Henrik, to reprise a bitter interlude from a decade before. Rakel, past her prime as an actress, has been offered a small part in one of Henrik's earlier productions of A Dream Play. She flirts and quarrels; he tries to act sympathetic. Rakel disappears, and Henrik...