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Ingmar Bergman was a sur-figure, for his colleagues the best director of all time. According to some, his revealing vision of the man would do good to the cinema.
Ingmar Bergman built his house on the small Baltic island of Fårö, not on fine sand, but on a sterile stone beach. The draft, reduced to the essentials suited him – and also his dark work.
With his cinematic music on big questions of meaning, the Swedish director has influenced whole generations. This year, the clbadics of Bergman can be reviewed – because on July 14, the Swedish champion would be 100 years old.
Being old, said Bergman, it was like climbing a mountain. "The more you climb, the more your strength decreases, but the more you look away." Bergman, one has the feeling, was able to see very far in advance. He died in 2007 at the age of 89 on his small Baltic island. Ten years previously, his Cannes colleagues called him "best director of all time".
Contrary to popular belief, Bergman's work is not only intellectual, says Ingmar Bergman Foundation director Jan Holmberg. Of course, they are often deep and socially critical – but also sarcastic and ironic. "I do not think you need a university degree to understand it," says the curator. Just like the experimental drama in black and white "Persona", the viewer must feel simple and not try to understand intellectually.
The films of the big winner Bergman are again in great demand – probably because of their contrast representing the current commercial cinema, says Holmberg. "People need to explore themselves." At a time when many social media are creating their own filter bubbles, it's important to "show someone the least flattering aspects of people" .
Holmberg manages Bergman's legacy, which includes more than 60 films for film and television such as "Persona", "Fanny and Alexander" or "Scenes of a Wedding". With them, Bergman became world famous. But he has also written over 170 theatrical productions, countless screenplays and autobiographical texts. Unesco lists the area – handwritten and typewritten manuscripts, drafts, notebooks, production documents, photographs and about 10,000 letters – as part of World Heritage.
Bergman speaks of death, the silence of God, failing artists, family problems. Critics say that he has given all performing arts disciplines a new psychological depth and intimacy. The stubborn and extremely safe Swedish actors of them were looking straight into the camera, giving silence as much power as the word.
Hardly any other director could come back on "such a long career and so many films of so remarkably stable quality". said Holmberg. Today, he recognizes traces of Bergman in the works of Lars von Trier ("Melancholia"), Michael Haneke ("Love") and the French Olivier Assayas ("Personal Shopper"). In later Steven Spielberg films such as "Lincoln" or "Munich", he sees Bergman, as well as Woody Allen and even in modern streaming series like "Divorce" and "Mad Men".
Such a superman as Bergman, says German director Margarethe von Trotta, but will no longer exist. "This cult and this quasi-religious iconisation are, I believe, past," she said in the interview with "Time". "Today, you do not feel so committed to an artist anymore."
The ideals of Bergman continue to live on Fårö. In the small island of the Baltic Sea, the director had fallen in love with the filming of "Like in a mirror". "I want to live here, I want to die here," he said. In fact, he found here – as a result of his own specific directional instructions – even the last rest.
In his old home, today artists can be inspired. A foundation awards scholarships, anyone who admires the original notes on the bedside table of Bergman. On July 14, they will meet and watch Charlie Chaplin's "The Circus" – as Bergman always did with his children on his birthday.
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