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Biografi Ingmar Bergman

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HUVUDREDAktöRER PAUL DUNCN BENGT WA NSELIUS TExtER AV BIRGITTA SEENE, PETER COWIE, BENGT FORSLUND, ERLAND JosEPHSON OCH INGMAR BERGMAN PRODUCERAD AV REGI BENEDIkt TASCHEN BERGMAN BOKFÖRLAGET MAX STRÖM TE INGMAR BERGMAN ARCHIVES Part 1 Ingmar Bergman’s silent home movies 18 mins Part 2 Behind the scenes of Autumn Sonata 20 mins Part 3 An Image Maker; Behind the scenes documentary 32 mins Part 4 A video diary from Saraband 44 mins © 2008 TASCHEN GmbH All rights reserved. Taschen DVD 1. Ingmar Bergmans egna smalfilmer 18 min Gycklarnas afton, 1953 Det sjunde inseglet, 1957 Såsom i en spegel, 1961 Kommentarer av Marie Nyreröd 2. Från inspelningen av Höstsonaten 20 min av Arne Carlsson 3. En bildmakare; från inspelningen av Bildmakarna 32 min av Bengt Wanselius 4. En videodagbok från Saraband 44 min av Torbjörn Ehrnvall Filmremsan är från Fanny och Alexander och klippt från en 35 mm filmkopia som har visats i Ingmar Bergmans egen projektor. 00_bergman_080607.indd 1 08-06-19 14.12.51 00_bergman_080607.indd 2 08-06-19 14.12.51 4 — Innehåll Innehåll Kapitel 1 Kapitel 2 Kapitel 3 Kapitel 4 spelöppning 6 10 118 192 270 Bergmans närmaste vän och medarbetare Bergmans barndom och lärotid inom teater Trots turbulenta år med flera äktenskap, Andra hälften av femtiotalet representerar Bergmans religiösa tvivel resulterar i den Erland Josephson skriver om deras livslånga och film. Efter debuten 1938 som regissör barn, skilsmässor och förhållanden medför Bergmans första storhetstid som filmskapare berömda ”trilogin” med dess utforskande av vänskap och om sitt sista möte med Bergman i Mäster Olofsgårdens teatersektion upp- perioden ett genombrott för Bergman inom och teaterregissör. Han når en stor interna- Guds tystnad. Han har nu inlett sitt fruktbara bara några dagar innan han gick bort. märk sammas Bergmans första dramatiska filmen och teatern. De komiska elementen tionell publik med filmer som Det sjunde samarbete med filmfotografen Sven Nykvist. arbete på Studentteatern av SF. Han får i filmer som Kvinnors väntan och Sommar- inseglet, Smultronstället och Ansiktet samt Tillsammans flyttar de fram gränserna för arbete som ”manuskriptslav”, gör sin debut nattens leende ger Bergman nya publik- vinner sin första Oscar med Jungfrukällan. bildspråket med det asketiska mästerverket som filmregissör och etablerar sig som en av framgångar och visar hans bredd som film- Detta är också den period då han bildar sitt Nattvardsgästerna och den mer expression- Sveriges mest lovande unga filmskapare. skapare. Han får internationellt erkännande ”stall” av skådespelare inom filmen och istiska Tystnaden. Bergman vinner priser på vid festivaler i Cannes och Montevideo och teatern och etablerar ett samarbete med ett antal filmfestivaler och 1963 blir han chef Hets skapar sig en unik position vid Malmö stads- filmfotografen Gunnar Fischer. på Dramaten. Kris teater. Det regnar på vår kärlek Det sjunde inseglet Såsom i en spegel Skepp till India land Sommarlek Smultronstället Nattvardsgästerna Musik i mörker Kvinnors väntan Nära livet Tystnaden Hamnstad Sommaren med Monika Ansiktet Fängelse Gycklarnas afton Jungfrukällan Kronologi Törst En lektion i kärlek Djävulens öga 1961—1964 Till glädje Kvinnodröm Sånt händer inte här Sommarnattens leende Kronologi 1957—1961 Kronologi Kronologi 1918—1951 1951—1956 00_bergman_080607.indd 4 08-06-19 14.12.51 5 — Innehåll Kapitel 5 Kapitel 6 Kapitel 7 dVd 322 454 512 574 Bergmans chefskap på Dramaten blir redan Under sina år i München är Bergman regissör Bergman återvänder till Sverige i triumf som Biografi Ingmar Bergman 1: från början problematiskt och den nya vid Residenz Theater. Ett omtumlande men i världens största levande filmregissör. Han Medverkande Ingmar Bergmans generationens svenska filmskapare ifråga­ slutändan lyckosamt samarbete med Holly- dominerar Dramaten under arton års tid Källförteckning egna smalfilmer (18 min) sätter hans introspektiva filmer och bris- woodstjärnan och namnen Ingrid Bergman och hans teateruppsättningar turnerar för Bildregister tande sociala engagemang. 1966 lämnar resulterar i filmen Höstsonaten. Han gör tre fulla hus i USA, Europa och Asien. Bergman Tack 2: Bergman Dramaten. Han vinner stor interna- filmer inspelade i Tyskland och Norge innan skriver mycket person liga manus som regis- Tre frågor Från inspelningen av tionell framgång med Viskningar och rop han återvänder till Sverige och spelar in seras av bland andra Liv Ullmann och sonen Höstsonaten (20 min) och Trollflöjten, men perioden slutar katastro- Fanny och Alexander som visas både som Daniel. Han sluter cirkeln i sitt kreativa liv falt med anklagelser för skattebrott. I april biograffilm och tv-serie. Filmen hyllas som genom att återvända till författar skapet. 3: 1976 lämnar Bergman Sverige och går i exil ett mäster verk, belönas med fyra Oscars- Bergman skriver bland annat den säregna En bildmakare; i München. statyetter och blir en av Bergmans mest memoarboken Laterna magica som ges ut från inspelningen av folk­­kära filmer. på ett trettiotal främmande språk. Bildmakarna (32 min) För att inte tala om alla dessa kvinnor Persona Ormens ägg Efter repetitionen 4: Vargtimmen Höstsonaten De två saliga En videodagbok från Skammen Ur marionetternas liv Larmar och gör sig till Saraband (44 min) Riten Fanny och Alexander Bildmakarna En passion Saraband Beröringen Kronologi Viskningar och rop 1977—1983 Kronologi Scener ur ett äktenskap 1984 — 2007 Denna bok initierades i samförstånd med Ingmar Bergman själv, som ställde alla sina texter till Trollflöjten redaktionens förfogande. Det är följaktligen främst Ingmar Bergmans egen röst vi hör, och övriga Ansikte mot ansikte texter är skrivna av dem som på olika sätt stod nära honom och hans rika produktion; Erland Josephson, Birgitta Steene, Bengt Forslund, Peter Cowie och många andra. Mer information om Kronologi källorna och de människor som skapat dem finns i Appendix som börjar på sidan 574. 1964 —1977 Bergmans filmskapande har egna uppslag medan hans övriga yrkesutövning återfinns i varje kapitels kronologi (film, teater, tv, radio, dans, opera, bok). 00_bergman_080607.indd 5 08-06-19 14.12.52 6 — Spelöppning Spelöppning av Erland Josephson Gossen hette Ingmar. Den lovande unge mannen hette mar och hånar honom, de hotar med att ropa ut för världen att Ingmar Bergman. Sedan blev det rätt och slätt Bergman. Berg- han är en bluff och en fuskmakare. Skådisarna minglar i en man heter Bergman. äventyrlig koreografi som han inte kan styra. Han är maktlös. Ingen är så mycket Bergman som Bergman. Bergman vill Han vill regissera natten, bestämma över ljus och mörker, som gömma sig. Bergman vill synas. Bergman ger intervjuer och på teatern. säger att han redan för länge sen har slutat ge intervjuer. Då Hos Bergman är det alltid fullmåne. och då bosätter han sig i sin berömmelse, den medför ju ändå Frampå morgonkröken ger han efter. Att räkna får som en del bekvämligheter. Bergman struntar i om han eventuellt hoppar över gärsgårn sägs vara en väg in i sömnen. Men det skulle vara odödlig, kyrkogårdarna är fulla av oersättliga blir för ledsamt med alla fåren. Bergman börjar räkna sina männi skor. Evigheten biter evigheten i svansen. Tiden går. Berg- framgångar för att komma till ro. De rusar rätt igenom honom. man har aldrig tråkigt. Hans lekfulla geni håller världen igång. Framgång, muttrar han. Vem kommer dragandes med att vardagen skulle vara Framgång, framgång, framgång. grå? Dumheter! Med ett muntert rytande sätter Bergman färg Katastrof! på tillvaron. Grått rymmer en värld av oräkneliga nyanser. I Framgång. Nattvardsgästerna rör sig de grå människorna i det grå land- Han måste hålla ordning på sina änglar och dämoner. skapet. Allt är avstånd. Allt är avsides. Allt är Sverige, en kylig Framgång, framgång. glesbygd befolkad av ensamheter. Bergman bekämpar inte Bergman måste se upp, så att han inte reduceras till monu- det grå, han erövrar det. ment och varumärke. Han ser upp. Han aktar sig. Han är där. Det är det grå som sätter själen på plats. Han är extremt närvarande när han är närvarande. Han är Det är roligt att ha tråkigt. Bergman avnjuter sin dagliga extremt närvarande också i sin frånvaro. dos uppfriskande misslynthet, han förebrår och förkunnar, för- Bergman är ung och det svänger om honom. Han förestäl- kastar och föreskriver, han är på en gång biskop och general. ler rabulist och bestormar den goda smakens tyranni. Utstyrd i Människorna är hemma i sina kostymer. Generaler förestäl- basker, älskarinna och en vältränad hemlighetsfull aura jagas ler generaler. Biskopar föreställer biskopar. Regissörer föreställer han av sin oemotståndliga kreativitet, som han stimulerar med regissörer. Bergman föreställer Bergman. demoniska skratt och häpnadsväckande utbrott. Han är så lite uppseendeväckande att det väcker uppse- Regissör är ett erfarenhetsyrke, förkunnar Bergman redan i ende. Han drar på sig något obestämt pilsnerbrunt, han skyltar tonåren. med anonymiteten. Det är svårt att föreställa sig Bergman Så är också hans erfarenhetstörst osläcklig, han tränger sig naken. på och in i alla möjliga sammanhang. Han har snart häcken Han är ständigt iakttagen. Magen krånglar. Tarmarna full av alla möjliga och omöjliga erfarenheter. Han jobbar som vrenskas. Han är en typisk inälvsblottare, som skickar ut bulleti- assistent på Operan, han regisserar teaterintresserade gymna- ner om sina kroppsliga tillstånd och funktioner. Bergman har sister, han hystar ut studentkårens krögare ur sin restaurang, ont. Han drabbas med mytens kraft. Smärtan blir en själslig studenterna ska ju för fan inte sitta vid borden och käka, de ska angelägenhet. Också mörker och ensamhet räknas som ett stå på borden och spela teater. Han vrålar i folkparkerna och plus i branschen. väsnas på Boulevardteatern. Han slåss mot otillräckliga resurser. Han får skapa sig en underhållande förtvivlan, gärna inför Han hånar och uppmuntrar. Han är oavbrutet inspirerande. publik. Teatern ska älska alla. Alla ska älska teater. Det ska till och med Nu vill Bergman sova men hans hungriga kapaciteter ett barn kunna begripa. Barnen ja! Det ska finnas barnpjäser håller honom vaken. Han hallucinerar. Hela rummet är fullt av på repertoaren; det ska finnas kärlek och det ska finnas skräck.
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  • THE SEVENTH SEAL 1958 92 Min

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    April 15, 2008 (XVI:14) Ingmar Berman THE SEVENTH SEAL 1958 92 min. Directed and written by Ingmar Bergman Produced by Allan Ekelund Original Music by Erik Nordgren Cinematography by Gunnar Fischer Film Editing by Lennart Wallén Production Design by P.A. Lundgren Gunnar Björnstrand...Jöns, squire Bengt Ekerot...Death Nils Poppe...Jof Max von Sydow...Antonius Block Bibi Andersson...Mia, Jof's wife Inga Gill...Lisa, blacksmith's wife Maud Hansson...Witch Inga Landgré...Karin, Block's Wife Gunnel Lindblom...Girl Bertil Anderberg...Raval Anders Ek...The Monk Åke Fridell...Blacksmith Plog Gunnar Olsson...Albertus Pictor, Church Painter Erik Strandmark...Jonas Skat INGMAR BERGMAN (14 July 1918, Uppsala, Uppsala län, Sweden—30 July 2007,Fårö, Gotlands län, Sweden ) directed 61 films and wrote 63 screenplays. (Bio from WorldFilms.com) "Universally regarded as one of the great masters of modern cinema, Bergman has often concerned himself with spiritual and realized in this cinematic signature. Of the early period, WILD psychological conflicts. His work has evolved in distinct stages STRAWBERRIES stands out for its narrative invention in a fluid over four decades, while his visual style—intense, intimate, manipulation of flashbacks, reveries and dream sequences. Its complex—has explored the vicissitudes of passion with a penetrating psychological investigation of the closing of the life mesmerizing cinematic rhetoric. His prolific output tends to return cycle established Bergman's preoccupation with the relationship to and elaborate on recurrent images, subjects and techniques. between desire, loss, guilt, compassion, restitution and Like the Baroque composers, Bergman works on a small scale, celebration. SAWDUST AND TINSEL (1953)/NAKED NIGHT, finding invention in theme and variation.
  • Camera Stylo 2021 Web

    Camera Stylo 2021 Web

    Cries and Whispers and Prayers MENA FOUDA Mena Fouda is an aspiring storyteller. Her dignifed process includes: petting and interviewing every cat she is lucky to cross paths with, telling bedtime stories to her basil plants, smelling expensive perfume to fnd out its secrets, and dancing to dreamy music in languages she can half-understand. 61 6 Ingmar Bergman’s Cries and Whispers (1972) starts with neither cries nor whispers but a natural silence. When we are first brought into this world, we see a statue, a thing that by its very nature is made to be unmoving: a figure that crystalizes movement. It is a quiet dawn and light streams softly past the trees, suggesting a tranquil openness to this environment. At first glance, I wonder what it would be like to walk these serene fields, to dance beneath these emerging rays of light. This must be somebody’s paradise. Without warning, this utopic space bleeds a deep red, until the colour overtakes the screen and transports us somewhere inside the manor. Here, we see more statues and a number of clocks before cutting to a larger view of the internal landscape. A sense of claustrophobia wraps its vicious hands around my throat. Something dead twists in my stomach. I no longer want to walk through here. I want to leave this damned Hell. Writing about this film is difcult—not because it doesn’t stir passion within me, but because it stirs too much. Having started with this film, I have since gone on to enjoy Bergman’s other works including Persona (1966), Autumn Sonata (1978), and Wild Strawberries (1957)—but I always find myself retreating to Cries and Whispers for comparison.