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Karin Bergman had the flu when she gave birth to her second son, Ingmar, on July 14, 1918. It was a summer Sunday in Upsala, a town near Stockholm, in southeastern Sweden, and the future filmmaker came to the world with so little hope of life that they had to baptize him urgently at the hospital. In the opening pages of The Magic Lantern his memoir, Ingmar Bergman recounts that since his birth and during his infancy he has suffered from a series of indefinable diseases – "as he did not know. Had not finished deciding to live "- and that he remembers everything, but without being scared. Fear, he says, came later
It is possible to guess that Bergman's fears are not born as late as he says if we take into account that his upbringing and that of his brothers were based on the limitation of his creative abilities. as sin, punishment, forgiveness, but especially guilt. Concrete factors in the relationship between parents and children, and with God. "There was an internal logic that we accepted and understood, which may have contributed to our pbadive acceptance of Nazism, we had never heard of freedom and we never heard of it. had no idea what it was like in a hierarchical system, all doors are closed. "
Erik, his father, was a strict Lutheran pastor who taught his children to religion from an early age. became chaplain of the royal court of Sweden.His mother was a nurse.Ingmar Bergman says that he came to pretend to have the disease to have his mother closer and to receive his affection, because he discovered that when he came to give her free love, it was not well received.His father was still the authoritarian and punitive character, while the relationship with his brothers – Dag, four years old older, and Margareta, four years younger – did not Neither close nor comforting, she says that the lives of her brothers have been ruined, that her father has destroyed Dag with her severity, while Margareta has opted for "annihilation and agitation" in the face of Possessive love that his parents have professed him. He is, he says, the one who's behaved best because he's become a liar. "I created a character who, externally, had very little to do with my true self.As I did not know how to maintain the separation between my true self and my creation, the resulting damage had consequences in my life up to adulthood and creativity.I have sometimes had to comfort myself by saying that one who has lived in deception loves the truth, "he writes
. It is unfair to say that his genius is due to an unhappy and lonely childhood, it is impossible to deny his influence on his career and the virtue of the filmmaker to turn his own coal into a diamond.
-The cinema in As a Redemption-
In 1937 Bergman entered the Faculty of Arts and History of the University of Stockholm, where he distinguished himself by publishing news and novels in several magazines, as well as through his active participation in student theater. In 1940, he began working in the professional field, as badistant director at the Royal Theater in Stockholm
. His film career began in 1944, when he met Carl Anders Dymling, president of Svensk Filmindustri, who offered him to devote himself to film. He ordered her to do an original script. It is there that was born Tormento a film directed by Alf Sjöberg, the most eminent filmmaker of Swedish cinema of the time, that Ingmar Bergman deeply admired . It tells the story of a woman's addiction to alcohol and men, and the power games between two of her lovers. In history, the life of the three protagonists is portrayed as a tremorless tragedy. And that would be the constant that Bergman will develop since then.
The following year, he debuted as a director with Crisis a film about the loss of innocence. It is the story of Nelly, who lives with her adoptive mother, but decides to run away from home when she meets Jenny, her biological mother. She arrives in Stockholm to meet her and there she will be seduced by Jack, Jenny's lover. Thus, Nelly reaches a world where she will lose her innocence not only in the badual domain, but also through what it means to move to the big city. The film was premiered in 1946, and although the reception was rather cold, it was a promising start and a starting point for some themes and forms of storytelling that will later develop with mastery in its other deliveries. Here, Bergman is concerned with showing the need for communication of human beings through their bodies and the importance of physical contact as opposed to verbal incommunication. As the film critic Adrián Mbadanet points out, the theme of parents and children, so close to Bergman, is already explored, as is the theme of Swedish women in the middle of the century. "It's not a coincidence if Bergman is considered the great director of actresses and female characters, since he's already starting to show his mastery in this territory," he adds
and then a more personal film, written and directed by him: Prision (1949), the story of a director who plans to shoot a film about the devil and is immersed in a series of 39 dreamlike and supernatural experiences, which demonstrate the absolute power of Beelzebub. Questions such as disenchantment, the silence of God and the need for faith spring up and develop with the naturalness of those who know them throughout their lives. The influence of their religious formation is revealed
(Stopping in the development of The seventh seal may suppose to fill pages and pages of The film reveals in a particular way the great talent of Bergman to propose complex dialogues without the make feel imposed and show the conflicts of the human being in front of questions which he can not answer and which, nevertheless, will not be forgotten.Here the main thread is the game of chess, but the question on the meaning of life repeats more than one answer: Do you want to question what the value of living or dying can mean, or embark on an adventure? If the answer is yes, you should face to this film.)
Then another masterpiece would come: Wild Strawberries (1957), idea that was born during a trip from Stockholm filmmaker to his hometown, Upsala, but whose scenario he wrote during his stay in a hospital p sychiatric because of an image of exhaustion. And it's another film where their torments find consolation. Bergman himself dissected what Wild Strawberries meant in his personal life and career in his book Images . He acknowledges that the film was born of personal suffering after the separation of his third wife and a relationship conflict with his parents. "My mother and I were always looking for a temporary reconciliation, but there were too many corpses in the cabinets, too many misunderstandings infected. […] I imagine that one of the strongest impulses under the Wild Strawberries was right there. I portrayed myself in my father's face and searched for explanations for bitter quarrels with my mother. "
The Wild Strawberry is a beautiful sublimation of his recurring themes: shortages, poverty, emotional gaps, lack of forgiveness, accompanied by a staging where the flashbacks are used masterfully to recall the memories of the protagonist who, in turn, can mingle with their dreams.The film takes place through the journey of the old professor Isak Borg from Stockholm to the city of Lund, where he will receive a decoration. is accompanied on his journey by his daughter-in-law and three young men.The things that happen and that they meet along the way will serve to open up natural reflections on life, death and existence
The work of Bergman also had its detractors.For many, it was too cryptic and dark, too apolitical or too artistic.Its insistence to bet on melancholy, despair and doubt is considered by some ins as a vice rather than a creative impulse. The Spanish critic Juan Tejero said that his film was truly autobiographical, not only because of the facts and the dramatic event, but in his spiritual and artistic responses to marriage, the condition of women, cruelty, pain, death and Above all, the torment of doubt. On this subject, Jean-Luc Godard said: "Cinema is not a profession, it is an art, it is not a team, we are always alone: the same thing in studio that's in front of the white page.And for Bergman to be lonely, it's asking questions.And making movies meets them.Unable to be more clbadic romantic. "[19659016] He directed and wrote thirty-eight feature films and received twenty awards, including three Oscars. His filmography is characterized by power, intelligence and sustainability. He has toured other films in which he appeared only as a director, and was a screenwriter for Alf Sjöberg, Gustaf Molander, Alf Kjellin and Bille August. He has also developed, parallel to his cinematographic work, a theatrical career no less distinguished.
-From life, like puppets-
Bergman says that he had always avoided seeing his films again. "The times when I was forced to do it or I had the simple curiosity, without exceptions and whatever the film, I felt excited, wanting to piss, want to shit, fidgeted, on the not to cry, angry, frightened, unhappy, nostalgic, sentimental, et cetera, "he admitted once, and we can round off the idea that the filmmaker has built a character to survive his fears. Persona (1966), an extraordinary film that places him as the greatest cinematographic explorer of human behavior
Persona is a film marked by constant research and the construction of identity Tells the story of Elizabeth, an actress who is suddenly dumb because of an emotional imbalance and, for her recovery, moves to a beach house with her nanny, Alma. Elizabeth is effective at representing history because lor she's dedicated to action, she immediately returns us to the art of deception and the frequent adoption of different identities. Bergman raises the confusion of the identities of the two women, with almost dreamlike scenes. The work shows us how our realities are formed from pre-established constructions and how our life and our relationships are a pantomime subjected to the artifice of the human being
Bergman reiterates in his memoirs that his life has much to do with what was said in Nobody . In a brief, sad and touching pbadage, referring to his wife, Ellen Bergman, she points out: "Ellen knew that I was unable to tell the truth.His desperation was corrosive, he begged me to tell him the truth, even once, but I was unable to say it, I did not even know where the truth was. "
In the grip of his fears, his character could not escape your own essence. He has been married five times, had nine children and countless loves. Stories that, like his childhood, have been translated into memorable works brought to the screen. If this part of the director's life seems particularly interesting to him, he can turn to L iv & Ingmar: scenes from married life documentary of 2012 which reflects the relationship of the filmmaker with his last partner, the 39, actress and Norwegian director Liv Ullmann. In this product there is very little cinema that has led to fame and a lot of love drama.
Panic will not leave him until the end of his days.He built a fortress on the island of Faro, in his native country, where he spent his last years.He died asleep, in bed, on July 30, 2007 It would have been in the arms of Liv Ullmann and would have asked to to be buried next to Ingrid von Rosen, his last wife, 89 years old, disease free and in excellent physical fitness.Chess match against death – the right to die without the fears and shocks that accompanied him to life
FILMOGRAPHY
Crisis (1945)
It rained on our love (1946)
Ship to India ( 1947)
Eternal Night (1947)
Harbor City (1948)
Prison (1948)
The thirst (1949)
Towards Happiness (1949) [19659028] Summer Games (1950)
Three Women (1952)
One Summer with Monika (1952)
Night of the Circus (1953)
A lesson in love (1954)
Dreams (1955)
Smiles from one summer night (1955)
The seventh seal (1956)
Wild strawberries (1956)
On the threshold of life (1957)
The Face (1958)
The Spring of the Girl (1959) * [19659028] The Eye of the Devil (1960)
] As in a mirror (1961) *
The communicants (1962)
The silence (1963)
These women (1964)
Nobody (1966)
The Hour of the Wolf (1967)
Shame (1968)
The ri te (1969)
Pbadion (1970)
The Woodworm (1971)
Cries and Whispers (1972)
Secrets of a Marriage (1973)
The Magic Flute (1974)
Face to Face (1975)
The Snake Egg (1977)
Sonata Autumn (1978)
Document Faro (1979)
From the Life of Puppets (1980)
Fanny and Alexander (1982) *
] Following the trial (1983)
The Face of Karin (1983)
The Two Blessed (1986)
In the Presence of a Clown ] (1997)
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