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A hundred years ago, Upsala's light was on, that gleam of pure art, human contradictions, tremendous intuition in the darkness of the human soul that we let us recognize today at Ingmar Bergman.
One hundred years of birth (July 14, 1918), a few weeks of death (July 30, 2007), the same day as Michelangelo Antonioni, mockery of an indifferent fate that made the other fly in posthumous glory
From the Cannes Film Festival to the "Cinema Ritrovato" in Bologna the moments dedicated to the memory of Bergman, as they multiply every day and already with two films (a signed Margarethe Von Trotta ) provoke discussions, reflections, praises.
And then the almost predictable tributes to the genius, and each time returns the question that always accompanies the memory of the great artists: what leaves his work, where are the fragments of this blinding light that translates into heads of Perfect works such as "Wild Strawberries", "The Seventh Seal", "Trilogy of Silence", "Screams and Whispers", "Fanny and Alexander"
The first obvious answer is to look at Woody Allen, who was still obsessed with the myth of Bergman, until he changed his stylistic figures, abandoning more often the elegance of the talk comedy to choose the path of psychobadytic introspection with titles like and his sisters "," Crime and Mystery "," Another Woman "," Women and Husbands ".
The second incitement does not speak of legacy, but of astral consonance, of harmony between distant and inexorably attracted stars that have forever influenced Fellini in his silent dialogue with Bergman, so that during one In a moment, the two even threatened to project a film with two voices.
More surprising – admits Olivier Assayas to Von Trotta – is the Bergmanian imprint of the New Wave, this sensitivity to the secrets of the female soul that we find in the first Rohmer, in the François Truffaut's most sincere works, at the movies of François Ozon and Assayas himself ("Sills Maria").
And the streams of this inexhaustible ethical and religious inquiry are insinuated, in the 1970s, also in the work of the German Fbadbinder and in the aesthetic reflections of Alexander Kluge. More superficial forms of American cinema discovered by psychobadysis in the new wave of Romanian cinema (Christian Mungiu has since the beginning of his profession the Bergmanian faith).
The barrier of Lutheran formation and the magisterium of Strindberg and Ibsen alienate Bergman from the roots of Italian cinema and, paradoxically, limit their influence on Scandinavian cinema which, apart from Liv Ullman, seeks to s & # 39; To move away from the inaccessible master. 19659003] One hundred years after birth, one can say that no one can say, with total certainty, far from Bergman: none of them knew how to study the feminine soul, because no one d & # 39; 39; other could have transferred the psychobadysis of the abstract experience to the unconscious with visible laceration. The idea of cinema as a closed space in which feelings and pbadions move and take shape is an authentic architecture of the image.
This is and perhaps less known is the omnivorous pbadion of the Ingmar viewer towards the cinema of the world.
In his personal video library Sokurov was next to "Pretty Woman", the silent films of his teachers Molander and Sjoberg were intertwined with the musical constraints of Jacques Demy, Polansky (for him loved and another heir to his secret pbadions) was with Kubrick and Sergio Leone
.
Perhaps the only element of Bergman 's cinema that finds few equivalents in today' s cinema is the sense of framing that he shared with John Ford. In his idea of the picture, the space is the one designed by the artist, a perfect image in which to register the movements of the characters who do not need to "feel" the camera for to give body to dreams, nightmares, confessions and words.
Once, Max von Sydow, one of his great interpreters, said of Bergman: "When we are on the set, the eye of Ingmar scrutinizes us as an entomologist. [19659003] Between us, one goal and in the crazy exhibition to discover the hard truth of our soul, so that Bergman does not need words, it simply serves to elevate the truth that we n & # 39; Do not dare to confess A technique which, paradoxically, belongs to a filmmaker of truth and absolute fiction like Lars von Trier
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