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My grandmother hid Ingmar Bergman. Of course, she had never met him, and he had not seen any of his films, if any, anyone. But I think she was deprived of what she represented.
In any case, she disappeared – the kind of disdainful lighting that can only come from a woman born and raised in the working class in Sundbyberg in the 1910s – when one of her films was flambe spent TV in the country: "Usch! You do not understand anything. Just the gap and scream. And misery!"
Basically, the observation of the grandmother was clear. Ingmar Bergman was one of the cornerstones of Swedish modernity in the 20th century – perhaps mainly with Evert Taube, Vilhelm Moberg and Astrid Lindgren. These four have not only represented modern Sweden but have also contributed to it. Whether we like it or not, most Swedes have been influenced by the way they shaped our dreams and values.
In this drama, they all had different roles. Ingmar Bergman was, as suggests the intelligence of Mormor, barely popular. On the contrary, on the contrary. It was he who forced the inhabitants of the emerging peoples to face the dark secrets of the facades of the record years.
I will think of my grandmother by reading the first chapter of the modern classic "See Bergman!" From DN Critic Leif Zern, released in a new edition for the centenary of the director the previous years. the week ahead. Already in the introduction, Zern Bergman calls for "the monster of the people" – who has shown what we fear most about ourselves.
Symbolically, he symbolized his first film in 1945, when Sweden came out of the ashes and with better conditions than any other country started strengthening welfare. At a record speed, social reforms and economic progress created a modern, well-organized society that achieved its glory in the 1960s. "Every time we saw the mirror, we were successful, healthy, sensitive and just, "writes Zern. Sweden was a country without tragedy.
Ingmar Bergman broke this folk mirror. He brandished the opposite image of the promised ideology – spiritual necessity, empty churches, fantasy pain. The Bergman figurines live as if they had never heard of the five-day week and the ATP, Zern notes. They refuse to become adults, cooperative and supportive. His manic pursuits with his "demons" were a scandal to Swedish self-understanding.
This is surely all that has made my grandmother sneaks. "Misery! Just misery! "
The characters of Ingmar Bergman live as they had never heard of five days of the week and ATP
Ingmar Bergman was not no plus a socialist or traditional socialist poet.But it was unthinkable without the house of the Swedish people – and vice versa.The dynamics between these two poles honed when the tax police thundered the drama in 1976 and seized the famous director suspected of stealing money. The resurrection has become huge, Finance Minister Gunnar Sträng explained that the tax laws also apply to "culturalists." Bergman himself has decided to leave Sweden for exile. In Germany, the same day he left Sweden, he wrote in Expressen: "I was convinced by the social democrats, and with sincere suffering, I covered the ideology of the gray compromises." thought my country was the best in the world, and I still think so e, maybe because I've seen a lot of other countries. My alarm clock became a shock.
Swedish Prime Minister Olof Palme said Bergman's slide was "a day of shame and vodicity for Sweden": "It could be the nail in the coffin of the party before the elections. It's a nightmare. "It was verified – a few months later, the Social Democrats lost the power of the government for the first time in 44 years.
But also in another way, the development Bergman goes hand in hand with the house of the people.In his view of the art, Ingmar Bergman represented a kind of social-democratic flirtation and laborious ethnicity.For him, no art was about secrets, but on a competent knowledge and calculation.Leif Zern reminds that the teachers of Bergman were not the "great minds" but the good craftsmen, those who insist on the importance of starting to And Erlander Tage, prime minister of Bergman's Regide but with "Kris" in 1946 at his first true color film "A Passion", is one of the best main characters of this disc which, unlike my grandmother, greatly appreciates the cin ematograph of Ingmar Bergman. 1969. In Erlanders' newspapers, Bergman's recurring annual film is almost a fix point during those years. For example, after the premiere at "Smultronstedet" on January 18, 1958, Erlander noted as a sort of postponement to the referendum in the ATP question: "It was a powerful experiment that yesterday at Red Kvarn sees Victor Sjöström under the direction Ingmar Bergman's clarity on the aging situation makes it strange that a film as bitter can be filled with light and humor. "
Yes, that's Is strange. And the strangest of all is perhaps that the artist who says the deepest truths about a society does not become the most loved. And maybe just because of the most indispensable.
Read more Chronicles of Björn Wiman
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