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Entries in Ingmar Bergman (19)

Thursday
Oct182018

Showbiz History: Bergman's Persona, Roseanne's Debut, Einsenstein's Trip

5 random things that happened on this day, October 18th, in history

1867 The USA take possession of Alaska (formerly owned by Russia). Happy Alaska Day if we have any readers there. Enjoy your holiday.

1961 West Side Story has its world premiere in New York City. It will go on to become a blockbuster at the box office and win 10 Oscars including Best Picture. We recently did a deep dive right here that you should read if you missed. It's currently being remade (sigh) by Steven Spielberg.

 1966 Persona premieres in Sweden. Ingmar Bergman's masterpiece (well, one of them) will hit US theaters in March the following year. Strangely, given its reputation now and Bergman's position in world cinema then, it was not one of his Oscar successes...

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Friday
Jul132018

Bergman Centennial: In "Shame" Love is a Battlefield

Any passing visitor who’s toiled amongst the weeds of Ingmar Bergman’s vast garden of emotional entanglements will surely recognize the same familiar seeds of chaos, conflict, and spiritual carnage sown between the damned pistel and stamen of whichever variety of lovers feature into a particular film – but in Shame (1968), his scabbed and battered masterwork of wartime wreckage, the Swedish auteur lays fire to the roses. Incendiary combat between dueling psyches in intimate locations fuels much of his filmography – the mother-daughter melee of Autumn Sonata and frosty schoolhouse rejection in Winter Light immediately jump to mind – but Shame ignites a maximalist fuse within its scope that quite literally drops a bomb on the long-suffering couple at the broken heart of its story. By contrasting the domestic drama of Eva and Jan Rosenberg’s (Liv Ullmann and Max von Sydow) decomposing marriage against a backdrop of military destruction and societal decay, Bergman turns the canvas of the soul inside out and externalizes the conflict of a toxic relationship into the very warzone that is exacerbating its decline.

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Friday
Jul132018

Bergman Centennial: Death and "The Seventh Seal"

by Chris Feil

The Seventh Seal begins with some of the most enigmatic and iconic imagery of Ingmar Bergman’s career. Which is saying something considering the auteur’s filmography is composed almost entirely of meditative frames. Here Max von Sydow's post-Crusades knight Antonious Block is visited by a black cloaked Death and the two take part in a literal and intellectual game of chess. It’s a grave way to start a film, one that still endures for its thematic impact and how it establishes the rest of its stark narrative as spiritually timeless.

Named for the passage in the Book of Revelation marking the final opening of the apocalyptic scrolls and the resulting period of silence in heaven, the film lives in that quiet Godlessness...

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Thursday
Jul122018

Bergman Centennial: Persona and the Problem of "Motherliness"

Team Experience will be celebrating one of the world's most acclaimed auteurs this week for the 100th anniversary of Ingmar Bergman's birth. Here's Lynn Lee

Persona has been called the Mount Everest of film critics, and no wonder.  For a film that clocks in at a lean 84 minutes and turns on a deceptively simple premise – a celebrated actress (Liv Ullmann) falls mysteriously silent and is consigned to the care of a chatty, insecure nurse (Bibi Andersson) – it contains multitudes.  In the 50-plus years since its debut, its potential meanings have been explored from almost every conceivable angle, be it existential, metaphysical, psychological, psychosexual, queer, feminist, the role of art and the artist, or just the film’s pure cinematic texture and experimental devices.  But Persona is a slippery beast: just when you think you have a theory as to what it’s “about,” it melts and reformulates into something else entirely.

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Wednesday
Jul112018

The Furniture: Theatrical Magic in "Fanny and Alexander"

"The Furniture," by Daniel Walber, our weekly series on Production Design returns for Season 3! Kicking off with an episode of our Ingmar Bergman Centennial Mini-Series.

There is so much to say about Fanny and Alexander. It has the visual density of The Age of Innocence, the spiritual ascent of Berlin Alexanderplatz, and Ingmar Bergman’s remarkable way with character. These elements gather together to form a benevolent and mystical dome, one which will define the young Alexander’s relationship to his family and his world. The film is built with a free sense of reality, leaping across time but lingering in resonant moments. Bergman casts the Ekdahl family as practitioners of a magical humanism, which which whisks the audience through these many hours as if in a dream.

Much of this atmosphere depends upon the film’s Oscar-winning production design. 

Its furniture magic takes center stage in the first act, late into the early morning hours of Christmas. Oscar Ekdahl (Allan Edwall), Fanny and Alexander’s father, spins a fantastical yarn about an otherwise unremarkable wooden chair. Its long history and hidden power, he says, make it the most valuable in the entire world. Between the flickering gas lights, the holiday atmosphere and the mood of childlike wonder, we are all taken in...

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