Bergman

Ingmar Bergman
(1918- )
Swedish motion-picture director and producer, possibly the most distinguished figure in
Scandinavian cinema. Born in Uppsala and educated at Stockholm University, Bergman
has directed, produced, and written films that range from light comedy to profound
psychological and philosophical drama. His comedies—which include Lesson in Love
(1954), Smiles of a Summer Night (1955), and The Devil's Eye (1960)—are especially
marked by lyrical treatment of their explicit sexual content. Among his dramatic films,
The Seventh Seal (1957) is a somber allegory of the relationship of humanity to God and
to death. His themes are frequently conveyed through the use of Christian symbols and
are imbued with a sense of dark mystery. Wild Strawberries (1957) and Persona (1966),
both profound studies of the human psyche, use the typical Bergman techniques of
flashbacks, dream sequences, and visions. His trilogy—Through a Glass, Darkly (1961),
Winter Light (1962), and The Silence (1963)—explores such difficult metaphysical
questions (see Metaphysics) as the existence of God, the loss of faith, the capacity for
giving and receiving love, and the tormenting human inability to communicate. The
Virgin Spring (1959), Through a Glass, Darkly, and Fanny and Alexander (1983) won
Academy Awards for best foreign language film. Bergman's films also include The
Magician (1958), Hour of the Wolf (1968), Scenes from a Marriage (1973), The Magic
Flute (1974), Face to Face (1976), and Autumn Sonata (1978).
In the early 1980s Bergman announced his intention to retire from filmmaking, and since
the mid-1980s he has focused chiefly on theatrical directing. His screenplay The Best
Intentions, essentially the story of his parents' courtship, was filmed in 1992 by Danish
director Bille August, and Bergman published a rewritten version as a novel in 1993.
Other writings by Bergman include his autobiography, The Magic Lantern (1988), and a
film memoir, Images: My Life in Film (1993). His many honors include the prestigious
Irving Thalberg Memorial Award, presented by the Academy of Motion Picture Arts and
Sciences in 1970.
Writer - filmography
(2000s) (1990s) (1980s) (1970s) (1960s) (1950s) (1940s)
Bergmanova sonata (2005) (TV) (play)
Saraband (2003) (TV)
Persona (2002) (V)
Trolösa (2000)
... aka Faithless
... aka Infedele, L' (Italy)
... aka Treulosen, Die (Germany)
... aka Uskoton (Finland)
Larmar och gör sig till (1997) (TV)

... aka Dabei: Ein Clown (Germany)
... aka I klovnens nærvær (Norway)
... aka In the Presence of a Clown
... aka Vanità e affanni (Italy)
Enskilda samtal (1996) (TV)
... aka Private Confessions (USA)
... aka Private Conversations
Sista skriket (1995) (TV) (also play)
... aka The Last Gasp
Söndagsbarn (1992)
... aka Søndagsbarn (Denmark) (Norway)
... aka Sunday's Children (USA)
... aka Sunnuntailapsi (Finland)
Goda viljan, Den (1992)
... aka Besten Absichten, Die (Germany)
... aka Con le migliori intenzioni (Italy)
... aka Gode vilje, Den (Denmark)
... aka Hyvä tahto (Finland)
... aka Meilleures intentions, Les (France)
... aka The Best Intentions (UK)
Markisinnan de Sade (1992) (TV)
"Goda viljan, Den" (1991) (mini) TV Series
A Little Night Music (1990) (TV) (screenplay Sommarnattens leende)
Dokument Fanny och Alexander (1986)

... aka Document Fanny and Alexander
... aka The Making of 'Fanny and Alexander' (USA: video title)
Efter repetitionen (1984) (TV)
... aka After the Rehearsal (USA)
Karins ansikte (1984)
... aka Karin's Face
Fanny och Alexander (1982)
... aka Fanny and Alexander (USA)
... aka Fanny et Alexandre (France)
... aka Fanny und Alexander (West Germany)
Aus dem Leben der Marionetten (1980)
... aka From the Life of the Marionettes
Höstsonaten (1978)
... aka Autumn Sonata (USA)
... aka Herbstsonate (West Germany)
... aka Sonate d'automne (France)
The Serpent's Egg (1977)
... aka Schlangenei, Das (West Germany)
A Little Night Music (1977) (screenplay Sommarnattens leende)
... aka Lächeln einer Sommernacht, Das (West Germany)
Ansikte mot ansikte (1976)
... aka Face to Face (USA)
Scener ur ett äktenskap (1973) (written by)
... aka Scenes from a Marriage (USA)
The Lie (1973) (TV)
Viskningar och rop (1972)
... aka Cries and Whispers (USA)
Beröringen (1971)
... aka The Touch (USA)
The Lie (1970) (TV)
... aka Play for Today: The Lie (UK: series title)
Reservatet (1970) (TV)
Passion, En (1969)
... aka A Passion (UK)
... aka The Passion of Anna (USA)
Riten (1969) (TV)
... aka The Rite
... aka The Ritual
Skammen (1968)
... aka Shame (USA)
Vargtimmen (1968)
... aka Hour of the Wolf (USA)
Stimulantia (1967)
Persona (1966) (story and screenplay)
... aka Persona (USA)
För att inte tala om alla dessa kvinnor (1964) (as Buntel Eriksson)
... aka All These Women (USA)
... aka Now About These Women (International: English title)
Tystnaden (1963)
... aka The Silence (USA)
Nattvardsgästerna (1963)
... aka Winter Light (USA)
Trämålning (1963) (TV)
Lustgården (1961) (as Buntel Eriksson) (also story)
... aka The Pleasure Garden
Såsom i en spegel (1961)
... aka Through a Glass Darkly (USA)
Djävulens öga (1960)
... aka The Devil's Eye (USA)
Ansiktet (1958)
... aka The Face (UK)
... aka The Magician (USA)
Nära livet (1958) (uncredited)
... aka Brink of Life (USA)
... aka So Close to Life (UK)
Smultronstället (1957) (written by)
... aka Wild Strawberries (UK) (USA)
Nattens ljus (1957) (uncredited)
... aka Night Light (International: English title)
Sjunde inseglet, Det (1957) (also play Trämålning)
... aka The Seventh Seal (USA)
Sista paret ut (1956)
... aka Last Couple Out (International: English title: literal title)
... aka Last Pair Out (International: English title)
Sommarnattens leende (1955)
... aka Smiles of a Summer Night (USA)
Kvinnodröm (1955)
... aka Dreams
... aka Journey Into Autumn (UK)
Lektion i kärlek, En (1954)
... aka A Lesson in Love (USA)
Gycklarnas afton (1953) (uncredited)
... aka Sawdust and Tinsel (UK)
... aka Sunset of a Clown
... aka The Naked Night (USA)
Sommaren med Monika (1953) (uncredited)
... aka Monika
... aka Monika, the Story of a Bad Girl (USA)
... aka Summer with Monika
Kvinnors väntan (1952)
... aka Secrets of Women
... aka Waiting Women
Frånskild (1951)
... aka Divorced
Sommarlek (1951)
... aka Illicit Interlude (USA)
... aka Summer Interlude (UK)
... aka Summerplay (International: English title)
Medan staden sover (1950) (synopsis)
... aka While the City Sleeps
Till glädje (1950)
... aka To Joy
Fängelse (1949)
... aka Prison
... aka The Devil's Wanton (USA)
Eva (1948) (also story Trumpetaren och Vår Herre)
Hamnstad (1948)
... aka Port of Call (USA)
Skepp till India land (1947)
... aka A Ship Bound for India
... aka A Ship to India
... aka Frustration
... aka The Land of Desire
Kvinna utan ansikte (1947)
... aka Woman Without a Face
Det regnar på vår kärlek (1946)
... aka It Rains on Our Love
... aka Man with an Umbrella (UK)
Kris (1946)
... aka Crisis (UK) (USA)
Hets (1944)
... aka Frenzy (UK)
... aka Torment (USA)
Filmography as: Writer, Director, Actor, Producer, Miscellaneous Crew,

Cinematographer, Second Unit Director or Assistant Director, Himself, Archive Footage
Director - filmography
(2000s) (1990s) (1980s) (1970s) (1960s) (1950s) (1940s)
Saraband (2003) (TV)
Bildmakarna (2000) (TV)
Larmar och gör sig till (1997) (TV)

Sista skriket (1995) (TV)
... aka The Last Gasp
Backanterna (1993) (TV)
Markisinnan de Sade (1992) (TV)
Två saliga, De (1986) (TV)

Dokument Fanny och Alexander (1986)
Efter repetitionen (1984) (TV)
... aka After the Rehearsal (USA)
Karins ansikte (1984)
... aka Karin's Face
Hustruskolan (1983) (TV)
Fanny och Alexander (1982)
... aka Fanny and Alexander (USA)
... aka Fanny et Alexandre (France)
... aka Fanny und Alexander (West Germany)
Aus dem Leben der Marionetten (1980)
Fårö-dokument 1979 (1979) (TV)

... aka Faro Document 1979
Höstsonaten (1978)
... aka Autumn Sonata (USA)
... aka Herbstsonate (West Germany)
... aka Sonate d'automne (France)
The Serpent's Egg (1977)
... aka Schlangenei, Das (West Germany)
Ansikte mot ansikte (1976)
... aka Face to Face (USA)
Trollflöjten (1975) (TV) (uncredited)
... aka The Magic Flute (Europe: English title) (USA)
Misantropen (1974) (TV)
Scener ur ett äktenskap (1973)
... aka Scenes from a Marriage (USA)
Viskningar och rop (1972)
... aka Cries and Whispers (USA)
Beröringen (1971)
Passion, En (1969)
Riten (1969) (TV)
... aka The Rite
... aka The Ritual
Fårödokument 1969 (1969) (TV)
... aka Faro Document
Skammen (1968)
... aka Shame (USA)
Vargtimmen (1968)
... aka Hour of the Wolf (USA)
Stimulantia (1967) (segment "Daniel")
Persona (1966)
"Don Juan" (1965) (mini) TV Series
För att inte tala om alla dessa kvinnor (1964)
... aka All These Women (USA)
... aka Now About These Women (International: English title)
Tystnaden (1963)
... aka The Silence (USA)
Nattvardsgästerna (1963)
... aka Winter Light (USA)
Drömspel, Ett (1963) (TV)
Såsom i en spegel (1961)
... aka Through a Glass Darkly (USA)
Djävulens öga (1960)
... aka The Devil's Eye (USA)
Jungfrukällan (1960)
... aka The Virgin Spring
Oväder (1960) (TV)
Ansiktet (1958)
... aka The Face (UK)
... aka The Magician (USA)
Rabies (1958) (TV)
Venetianskan (1958) (TV)
Nära livet (1958)
... aka Brink of Life (USA)
... aka So Close to Life (UK)
Smultronstället (1957)
... aka Wild Strawberries (UK) (USA)
Herr Sleeman kommer (1957) (TV)
Sjunde inseglet, Det (1957)
Sommarnattens leende (1955)
Kvinnodröm (1955)
... aka Dreams
Lektion i kärlek, En (1954)
Gycklarnas afton (1953)
... aka Sawdust and Tinsel (UK)
... aka Sunset of a Clown
... aka The Naked Night (USA)
Sommaren med Monika (1953)
... aka Monika
... aka Monika, the Story of a Bad Girl (USA)
... aka Summer with Monika
Kvinnors väntan (1952)
Sommarlek (1951)
... aka Illicit Interlude (USA)
... aka Summer Interlude (UK)
... aka Summerplay (International: English title)
Sånt händer inte här (1950)
... aka High Tension
... aka This Can't Happen Here
Till glädje (1950)
... aka To Joy
Törst (1949)
... aka Thirst (USA)
... aka Three Strange Loves
Fängelse (1949)
... aka Prison
... aka The Devil's Wanton (USA)
Hamnstad (1948)
... aka Port of Call (USA)
Musik i mörker (1948)
... aka Music Is My Future
... aka Music in Darkness
... aka Night Is My Future (USA)
Skepp till India land (1947)
... aka Frustration
Det regnar på vår kärlek (1946)
... aka It Rains on Our Love
... aka Man with an Umbrella (UK)
Kris (1946)
... aka Crisis (UK) (USA)

Actor - filmography
(1990s) (1970s) (1960s) (1950s) (1940s)
Larmar och gör sig till (1997) (TV) (uncredited) .... Mental patient
Trollflöjten (1975) (TV) (uncredited) .... Audience

... aka The Magic Flute (Europe: English title) (USA)
Passion, En (1969) (voice) (uncredited) .... Narrator

Riten (1969) (TV) .... Priest
... aka The Rite
... aka The Ritual
Kvinnodröm (1955) (uncredited) .... Man with poodle

... aka Dreams
Lektion i kärlek, En (1954) (uncredited)
Kvinnors väntan (1952) (uncredited) .... Man in the stairs at the gynecologist's
Till glädje (1950) (uncredited) .... Expecting father at the maternity ward
... aka To Joy
Skepp till India land (1947) (uncredited) .... Man wearing a beret at the funfair
... aka Frustration
Hets (1944) (voice) (uncredited) .... Voice on the radio
... aka Frenzy (UK)

Producer - filmography
(1980s) (1970s) (1960s)
Sally och friheten (1981) (producer)
... aka Sally and Freedom (USA)
Aus dem Leben der Marionetten (1980) (producer)
Min älskade (1979) (producer)

... aka My Beloved (International: English title)
Rätt ut i luften (1978) (TV) (producer)
Paradistorg (1977) (producer)
... aka Paradise Place
... aka Paradise Square
... aka Summer Paradise
Beröringen (1971) (producer) (uncredited)
Persona (1966) (producer)

Jungfrukällan (1960) (producer) (uncredited)
... aka The Virgin Spring

Miscellaneous Crew - filmography

(1990s) (1980s) (1950s)
Backanterna (1993) (TV) (stage director)
Ingrid (1984) (thanks)
Prästen i Uddarbo (1957) (script consultant) (uncredited)

Sjunde inseglet, Det (1957) (lyricist: "Det sitter en duva", "Hållas mellan rona", "Hästen
sitter i trädet", "Skats sång" and "Ödet är en rackare") (uncredited)
Sista paret ut (1956) (lyricist: "Det är lördag i dag") (uncredited)
... aka Last Couple Out (International: English title: literal title)
... aka Last Pair Out (International: English title)
Sommarnattens leende (1955) (lyricist: "Bort med sorg och bitterhet") (uncredited)

Cinematographer - filmography
Stimulantia (1967) (episode "Daniel")

Second Unit Director or Assistant Director - filmography

Hets (1944) (assistant director)
... aka Frenzy (UK)
Himself - filmography
(2000s) (1990s) (1980s) (1970s) (1960s)
Ingmar Bergman: Intermezzo (2002) .... Himself
Ljuset håller mig sällskap (2000) .... Himself
... aka Light Keeps Me Company (Europe: English title)
Ingmar Bergman: Om liv och arbete (1998) (TV) .... Himself

... aka Ingmar Bergman on Life and Work (USA)
Bergmans röst (1997)
... aka The Voice of Bergman (USA)
Liv Ullmann scener fra et liv (1997)
Dokument Fanny och Alexander (1986) .... Himself

Victor Sjöström: ett portratt (1981) .... Himself
... aka Victor Seastrom (USA)
A Look at Liv (1979) .... Himself

The Bergman File (1978)
Ingmar Bergmanin maailma (1976)
... aka Three Scenes with Ingmar Bergman (USA)
The 42nd Annual Academy Awards (1970) (TV) .... Himself - commenting on new
freedom and trends in film (pre-recorded)
Fårödokument 1969 (1969) (TV) .... Reporter

... aka Faro Document
Ingmar Bergman gör en film (1963) (TV) .... Himself

Archive Footage
Passion of Anna: Disintegration of Passion (2004) (V) .... Himself

Federico Fellini - un autoritratto ritrovato (2000) .... Himself
Ingmar Bergman
Biographical Data
BORN:
Ernst Ingmar Bergman, on 14 July 1918, in Uppsala, Sweden.
EDUCATED:
Palmgren School, Stockholm; and Stockholm University, 1938-40.
FAMILY:
Married Else Fisher, 1943 (divorced 1945); daughter Lena.

Married Ellen Lundström, 1945 (divorced 1950); two sons Jan and Mats, two daughters
Eva and Anna.
Married Gun Grut, 1951 (divorced); son Ingmar.
Married Käbi Laretei, 1959 (separated 1965, divorced); son Daniel Sebastian.
Daughter Linn by actress Liv Ullmann, 1966.
Married Ingrid von Rosen, 1971 (widowed 1995).
RECIPIENT:
Golden Bear, Berlin Festival, for Wild Strawberries, 1958.
Gold Plaque, Swedish Film Academy, 1958.
Oscar for Best Foreign Language Film, The Virgin Spring, 1961.
Oscar for Best Foreign Language Film, Through a Glass Darkly, 1962.
Erasmus Prize (shared with Charles Chaplin), Netherlands, 1965.
Honorary doctorate of philosophy, Stockholm University, 1975.
Oscar for Best Foreign Language Film, Fanny and Alexander, 1983.
Ingmar Bergman
Chronology
1918-1939
1918
Ernst Ingmar Bergman born 14 July in Uppsala, Sweden. Parents Erik (curate at Hedvig
Eleonora Church, Stockholm) and Karin (née Åkerblom).
1920
Family moves to Villagatan 22, Östermalm (Stockholm).
1922
Margareta (sister to Ingmar) born.
1924
Father appointed Chaplain to the Royal Hospital, Sophiahemmet.
1930
IB attends a real theatre for the first time. Saw Geigerstam's Stor Klas och Lill Klas at
the Royal Dramatic Theatre, directed by Alf Sjöberg.
1934
Father appointed parish priest at Hedvig Eleonora Church, and family moves to
Storgatan 7, Stockholm.
IB attends Palmgren's School, Östermalm (basis for Torment).
Spends one month during summer in Thuringia (Germany), and visits Berlin on way
home to Sweden.
1937
Takes his Student Examination (matriculation).
1938
Brief spell of compulsory military service in Strängnäs.
Enters Stockholm University.
Stages first plays at Mäster-Olofsgården, Stockholm (May): Outward Bound (Sutton
Vane), Lucky Peter's Journey (August Strindberg), The Blue Bird (Maunce Maeterlinck),
Master Olof (August Strindberg).
1939
Applies, unsuccessfully, for job at the Dramatic Theatre, Stockholm.
Obtains post as production assistant at the Royal Theatre (the Stockholm Opera).
Ingmar Bergman
Chronology
1940s
1940
Leaves Stockholm University.
Macbeth (William Shakespeare), Mäster-Olofsgården, Stockholm.
The Pelican (August Strindberg), Student Theatre, Stockholm.
1941
A Midsummer Night's Dream (William Shakespeare), Stockholm Civic Centre.
The Ghost Sonata (August Strindberg), Stockholm Civic Centre.
1942
Carl Anders Dymling appointed head of Svensk Filmindustri.
Beppo the Clown (Else Fisher), People's Park, Stockholm. (May)
The Death of Punch [Kaspers död] (own play), Student Theatre, Stockholm. (September)
Invited to join Svensk Filmindustri by Stina Bergman.
1943
Starts work at script department of Svensk Filmindustri. (January)

Marries Else Fisher. (25 March)
Tivoli (Hjalmar Bergman, no relation), Student Theatre, Stockholm.
Just Before One Wakes (Bengt Olof Vos), Student Theatre, Stockholm.
Who Am I? (Carl Erik Soya), Student Theatre, Stockholm.
U-Boat 39 (Rudolf Värnlund), Playwrights' Studio, Stockholm.
Nils Ebbesen (Kaj Munk), Playwrights' Studio, Stockholm.
Daughter, Lena, born. (December)
1944
IB's first screenplay to be accepted, Torment, is filmed by Alf Sjöberg. (February-May)
The Playhouse (Hjalmar Bergman), Playwright's Studio, Stockholm.
Mr. Sleeman's Coming (Hjalmar Bergman), Playwrights' Studio, Stockholm.
Appointed head of Helsingborg City Theatre. (April)
Lady Ascheberg of Widtskövle (Brita von Horn and Elsa Collin), Helsingborg City
Theatre. (September)
Who Am I? (Carl Erik Soya), Helsingborg City Theatre. (October)
Torment opens. (October)
Macbeth (William Shakespeare), Helsingborg City Theatre. (November)
1945
Kriss-Krass-Filibom (Sture Ericsson and Rune Moberg), Helsingborg City Theatre.
(January)
The Legend (Hjalmar Bergman), Helsingborg City Theatre (February)
Morality Reduced (Sune Bergström), Helsingborg City Theatre. (April)
Starts filming Crisis. (July)
Jacobowsky and the Colonel (Franz Werfel), Helsingborg City Theatre. (September)
Rabies (Olle Hedberg), Helsingborg City Theatre. (November)
The Pelican (August Strindberg), Malmö City Theatre. (November)
Divorces Else Fischer.
Marries Ellen Lundström.
Daughter, Eva, born.
1946
Crisis opens. (February)
Requiem (Björn-Erik Höijer), Helsingborg City Theatre. (March)
Requiem (Björn-Erik Höijer), radio production. (March)
Joins Lorens Marmstedt at Terrafilm.
Rabies (Olle Hedberg), radio production. (May)
Films It Rains on Our Love. (summer)
Rachel and the Cinema Doorman [Rakel och biografvaktmästaren] (own play), Malmö
City Theatre. (September)
Joins Göteborg City Theatre as a director. (fall)
Caligula (Albert Camus), Göteborg City Theatre, Stora Scenen. (November)
It Rains on Our Love opens. (November)
Summer (Björn-Erik Höijer), radio production. (December)
Son, Jan, born.
1947
Writes screenplay for Woman Without a Face (directed by Gustaf Molander).
Writes Jack Among the Actors.
The Day Ends Early [Dagen slutar tidigt] (own play), Göteborg City Theatre. (January)
Magic (G.K. Chesterton), Göteborg City Theatre. (March)
Films A Ship Bound for India. (spring)
Dutchman (August Strindberg), radio production. (July)
The Waves (Gustav Sandgren), radio production. (September)
To My Terror [Mig till skräck] (own play), Göteborg City Theatre. (October)
Films Night is My Future (directs only). (fall)
Playing with Fire (August Strindberg), radio production. (November)
1948
Twins, Anna and Mats, born.
Night is My Future opens. (January)
Dance on the Wharf (Björn-Erik Höijer), Göteborg City Theatre. (February)
Macbeth (William Shakespeare), Göteborg City Theatre. (March)
Films Port of Call. (spring)
Lodolezzi Sings (Hjalmar Bergman), radio production. (September)
Thieves' Carnival (Jean Anouilh), Göteborg City Theatre. (September)
Collaborates on screenplay of Eva (directed by Gustaf Molander).
Port of Call opens. (October)
Films The Devil's Wanton. (November)
Mother of Love (August Strindberg), radio production. (November)
Draw Blank [Kamma noll] (own play), directed by Lars-Levi Laestadius, Helsingborg
City Theatre. (December)
1949
Films Three Strange Loves (directs only). (January-February)
A Wild Bird (Jean Anouilh), Göteborg City Theatre, Studion. (February)
A Streetcar Named Desire (Tennessee Williams), Göteborg City Theatre, Stora Scenen.
(March)
The Devil's Wanton opens. (March)
Draw Blank [Kamma noll] (own play), radio production. (July)
Films To Joy. (July-August)
Goes to Paris for three months with Gun Hagberg.
Three Strange Loves opens. (October)
Contract with Göteborg City Theatre expires
Ingmar Bergman
Chronology
1950s
1950
Supplies synopsis for While the City Sleeps (directed by Lars-Erik Kjellgren).
To Joy opens. (February)
Divine Words (Don Ramón de Valle-Inclán), Göteborg City Theatre, Stora Scenen.
(February)
Films Summer Interlude. (April-June)
Films This Can't Happen Here (directs only). (July-August)
The Threepenny Opera (Bertolt Brecht), Intima Theatre, Stockholm. (October)
This Can't Happen Here opens. (October)
A Shadow (Hjalmar Bergman) and Medea (Jean Anouilh), double bill at Intima Theatre,
Stockholm. (December)
Divorces Ellen Lundström.
1951
Writes screenplay for Divorced (directed by Gustaf Molander).
Marries Gun Hagberg.
Light in the Hovel (Björn-Erik Höijer), Royal Dramatic Theatre, Lilla Scenen,
Stockholm. (April)
Son, Ingmar, born. (May)
The City [Staden] (own play), radio production directed by Olof Molander. (May)
Summer (Björn-Erik Höijer), radio production. (August)
Summer Interlude opens. (October)
The Rose Tattoo (Tennessee Williams), Norrköping City Theatre. (November)
During studio shutdown in Sweden, IB directs various cinema commercials for "Bris"
soap.
The People of Värmland (Fredrik A. Dahlgren), radio production. (December)
1952
There are Crimes and Crimes (August Strindberg), radio production. (January)
The Murder in Barjärna [Mordet i Barjärna] (own play), Malmö City Theatre, Intiman.
(February)
Blood Wedding (Frederic Garcia Lorca), radio production. (March)
Easter (August Strindberg), radio production. (April)
Appointed a director at Malmö City Theatre.
The Day Ends Early (own play), radio production directed by Bengt Ekerot. (June)
Films Secrets of Women. (June-July)
Films Summer with Monika. (August)
Relationship with Harriet Andersson begins.
The Virgin Bride (August Strindberg), Malmö City Theatre, Stora Scenen. (November)
Secrets of Women opens. (November)
A Wild Bird (Jean Anouilh), radio production. (December)
1953
Summer with Monika opens. (February)
Films Sawdust and Tinsel. (February-June)
To My Terror (own play), radio production directed by Åke Falck. (March)
Un Caprice (Alfred de Musset), radio production. (April)
Films A Lesson in Love. (July-September)
Sawdust and Tinsel opens. (September)
The Dutchman (August Strindberg), radio production. (October)
Six Characters in Search of an Author (Luigi Pirandello), Malmö City Theatre, Intiman.
(November)
The Castle (Franz Kafka/Max Brod), Malmö City Theatre, Intiman. (December)
1954
The Ghost Sonata (August Strindberg), Malmö City Theatre, Stora Scenen. (March)
Films Dreams. (June-August)
A Lesson in Love opens. (October)
The Merry Widow (Franz Lehár), Malmö City Theatre, Stora Scenen. (October)
1955
Don Juan (Jean-Baptiste Molière), Malmö City Theatre, Intiman. (January)
The Teahouse of the August Moon (John Patrick), Malmö City Theatre, Stora Scenen.
(February)
Painting on Wood [Trämålning] (own play), Malmö City Theatre, Intiman. (March)
Films Smiles of a Summer Night. (June-August)
Relationship with Bibi Andersson begins.
Dreams opens. (August)
The Monk Walks on the Meadow (Carl Gandrup), radio production. (September)
Lea and Rakel (Wilhelm Moberg), Malmö City Theatre, Intiman. (October)
Painting on Wood [Trämålning] (own play), directed by Bengt Ekerot, Royal Dramatic
Theatre, Lilla Scenen. (fall)
Smiles of a Summer Night opens. (December)
1956
Granny and Her God (Hjalmar Bergman), radio production. (January)
The Poor Bride (Alexander Ostrovsky), Malmö City Theatre, Intiman. (January)
Vox Humana (Jean Cocteau), radio production. (February)
Writes screenplay for Last Couple Out (directed by Alf Sjöberg).
Smiles of a Summer Night wins Special Jury Prize at Cannes Festival. (May)
The Old Play of Everyman (Hugo von Hoffmanstahl), radio production. (April)
The Tunnel (two one act plays by Pär Lagerkvist and Hjalmar Bergman), radio
production. (May)
Films The Seventh Seal. (July-August)
Cat on a Hot Tin Roof (Tennessee Williams), Malmö City Theatre, Stora Scenen.
(October)
Portrait of a Madonna (Tennessee Williams), radio production. (December)
Erik XIV (August Strindberg), Malmö City Theatre, Stora Scenen. (December)
1957
The Seventh Seal opens. (February)
Peer Gynt (Henrik Ibsen), Malmö City Theatre, Stora Scenen. (March)
Mr. Sleeman's Coming (Hjalmar Bergman), IB's first TV production. (April)
The Prisoner (Bridget Boland), radio production. (April)
The Seventh Seal wins Special Jury Prize at Cannes Festival. (May)
Films Wild Strawberries. (July-August)
The Inspector-General (Nikolaj V. Gogol), radio production. (November)
Films Brink of Life. (November-December)
The Misanthrope (Jean-Baptiste Molière), Malmö City Theatre, Stora Scenen.
(December)
1958
The Venetian (anon.), TV production. (February)
Films The Magician at intervals. (February-August)
The Saga (Hjalmar Bergman), Malmö City Theatre, Intiman. (April)
Brink of Life wins three prizes at Cannes Festival. (May)
Wild Strawberries wins Golden Bear at Berlin Festival. (June)
The Ball (Carlo Fruttero), radio production. (July)
The Saga (Hjalmar Bergman), radio production. (September)
Urfaust (Johann W. Goethe), Malmö City Theatre, Stora Scenen. (October)
Rabies (Olle Hedber), TV production. (November)
The People of Värmland (Fredrik A. Dahlgren), Malmö City Theatre, Stora Scenen.
(December)
The Magician opens. (December)
1959
Joins Royal Dramatic Theatre, Stockholm, as a director.
Films The Virgin Spring (directs only). (May-July)
Marries Käbi Laretei. (September)
Films The Devil's Eye. (October-January 1960)
Ingmar Bergman
Chronology
1960s
1960
Storm Weather (August Strindberg), TV production. (January)
Films Through a Glass Darkly. (July-September)
First Warning (August Strindberg), radio production. (August)
The Devil's Eye opens. (October)
1961
The Sea Gull (Anton P. Chekhov), Royal Dramatic Theatre, Stockholm, Stora Scenen.
(January)
Playing With Fire (August Strindberg), radio production. (January)
Carl Anders Dymling dies; IB appointed Artistic Adviser at Svensk Filmindustri.
Writes screenplay for The Pleasure Garden (directed by Alf Kjellin), with Erland
Josephson, under joint pseudonym, "Buntel Eriksson."
The Virgin Spring wins Academy Award as "Best Foreign Film." (April)
The Rake's Progress (Igor Stravinsky), Stockholm Opera. (April)
Through a Glass Darkly opens. (October)
Films Winter Light. (October-January 1962)
1962
Through a Glass Darkly wins Academy Award as "Best Foreign Film." (April)
Films The Silence. (July-September)
Son, Daniel Sebastian, born. (September)
1963
Appointed head of Royal Dramatic Theatre, Stockholm. (January)
Winter Light opens. (February)
A Dream Play (August Strindberg), TV production. (May)
Films All These Women. (May-July)
Takes up his duties at the Royal Dramatic Theatre. (July)
The Silence opens. (September)
Who's Afraid of Virginia Woolf? (Edward Albee), Royal Dramatic Theatre, Stora
Scenen, Stockholm. (October)
The Saga (Hjalmar Bergman), Royal Dramatic Theatre, Lilla Scenen, Stockholm.
(December)
1964
Three Knives From Wei (Harry Martinsson), Royal Dramatic Theatre, Stora Scenen,
Stockholm. (June)
All These Women opens. (June)
Hedda Gabler (Henrik Ibsen), Royal Dramatic Theatre, Stora Scenen, Stockholm.
(October)
1965
IB ill with viral infection during early months of year (cancels plans to stage The Magic
Flute in Hamburg).
Don Juan (Jean-Baptiste Molière) Royal Dramatic Theatre, China, a school production.
(February)
Films Persona. (July-September)
Relationship with Liv Ullmann begins.
Wins Erasmus Prize (ex-aequo with Charles Chaplin).
Tiny Alice (Edward Albee), Royal Dramatic Theatre, Lilla Scenen, Stockholm.
(December)
1966
The Investigation (Peter Weiss), Royal Dramatic Theatre, Stora Scenen, Stockholm.
(February)
IB's mother dies. (March)
United Artists pays $1 million for rights to Persona and IB's next film.
Daughter, Linn, born by Liv Ullmann. (March)
Films Hour of the Wolf. (May-September)
Persona opens. (October)
The School for Wives (Jean-Baptiste Molière), Royal Dramatic Theatre, Stora Scenen,
Stockholm. (November)
Resigns as head of the Royal Dramatic Theatre.
Builds house on island of Fårö (completed 1967).
1967
Episode, "Daniel," in portmanteau film Stimulantia opens. (March)
Six Characters in Search of an Author (Luigi Pirandello), National Theatre, Oslo. (April)
Films Shame. (September-November)
Persona AG (Swiss company) established.
1968
Hour of the Wolf opens. (February)
Cinematograph AB (Swedish production company) established.
Films The Rite (for TV). (May-June)
Shame opens. (September)
Films The Passion of Anna. (September-October)
1969
The Rite (own script), TV production. (March)
Woyzeck (Georg Büchner), Royal Dramatic Theatre, Stora Scenen, Stockholm. (March)
Films The Fårö Document (for TV). (March-May)
Writes TV script, The Lie (aired the following year in various countries, under different
directors).
The Passion of Anna opens. (November)
Ingmar Bergman
Chronology
1970s
1970
The Fårö Document, TV production. (January)
A Dream Play (August Strindberg), Royal Dramatic Theatre, Lilla Scenen, Stockholm.
(March)
IB's father dies. (April)
Hedda Gabler (Henrik Ibsen) National Theatre, London. (June)
Films The Touch (first English-language film). (September-November)
1971
Gun Hagberg (then known as Gun Grut) killed in car crash in Yugoslavia.
Show (Lars Forssell), Royal Dramatic Theatre, Stora Scenen, Stockholm. (March)
Liv Ullmann accepts Irving Thalberg Memorial Award on IB's behalf on Oscars' night in
Hollywood. (April)
The Touch opens. (August)
Films Cries and Whispers. (fall)
Marries Ingrid von Rosen. (November)
Moves into apartment in Karlaplan, Stockholm.
1972
The Wild Duck (Henrik Ibsen), Royal Dramatic Theatre, Stora Scenen, Stockholm.
(March)
Films Scenes from a Marriage (for TV). (summer and fall)
Svensk Filmindustri announces that IB will make lavish screen version of The Merry
Widow, starring Barbra Streisand. The project founders.
Cries and Whispers opens (in United States). (December)
1973
The Ghost Sonata (August Strindberg), Royal Dramatic Theatre, Stora Scenen,
Stockholm. (January)
Cries and Whispers opens (in Sweden). (March)
Scenes From a Marriage (own script), TV production, aired in six weekly episodes.
(April-May)
The Misanthrope (Jean-Baptiste Molière), Danish Royal Theatre, Copenhagen. (April)
IB attends Cannes Festival, with Cries and Whispers. (May)
A Little Night Music, based on Smiles of a Summer Night, opens on Broadway.
1974
To Damascus (August Strindberg), Royal Dramatic Theatre, Stora Scenen, Stockholm.
(February)
Sven Nykvist wins Academy Award for Cinematography on Cries and Whispers. (April)
Films The Magic Flute (for TV). (spring)
1975
The Magic Flute (W.A. Mozart), TV production. (January)
Twelfth Night (William Shakespeare), Royal Dramatic Theatre, Stora Scenen,
Stockholm. (March)
IB flies to United States to meet Dino De Laurentiis, who agrees to finance Face to Face.
Films Face to Face (for TV). (April-July)
Writes screenplay entitled The Petrified Prince (not filmed to date).
IB given Honorary Ph.D at Stockholm University.
1976
IB arrested (for alleged tax evasion) during rehearsals for The Dance of Death. (January)
IB leaves Sweden in voluntary exile. (April)
Face to Face (own script), TV production, aired in four weekly episodes. (April-May)
IB given contract at Residenzteater, Munich.
IB wins Goethe Prize. (August)
Moves into apartment in Munich. (September)
Films The Serpent's Egg in Bavaria Studios, Munich. (fall)
1977
Paradise Place opens (film produced by IB, directed by Gunnel Lindblom). (February)
A Dream Play (August Strindberg), Residenzteater, Munich. (May)
The Serpent's Egg opens. (October)
Films Autumn Sonata in Oslo. (September-October)
1978
Three Sisters (Anton P. Chekhov), Residenzteater, Munich. (June)
IB celebrates 60th birthday on Fårö with all his children in attendance. (July)
The Dance of Death (August Strindberg), resumes rehearsals at Royal Dramatic Theatre,
but is again halted due to mortal illness of Anders Ek. (August)
Autumn Sonata opens. (October)
1979
Tartuffe (Jean-Baptiste Molière), Residenzteater, Munich. (January)
Hedda Gabler (Henrik Ibsen), Residenzteater, Munich. (April)
Writes screenplay for Fanny and Alexander. (summer)
Twelfth Night (William Shakespeare), is re-opened at Royal Dramatic Theatre, Stora
Scenen, Stockholm. (August)
Films From the Life of the Marionettes. (October)
IB officially exonerated in tax affair. (November)
The Fårö Document 1979, TV production. (December)
Ingmar Bergman
Chronology
1980s
1980
Alf Sjöberg dies.
Yvonne, Princess of Burgundy (Witold Gombrowicz), Residenzteater, Munich. (May)
From the Life of the Marionettes opens (in Oxford). (July)
Production of Fanny and Alexander announced at press conference. (November)
1981
Double bill of A Doll's House (Henrik Ibsen) and Miss Julie (August Strindberg) at
Residenzteater, Munich, plus Scenes From a Marriage (own play) at theatre across street
on same night. (April)
IB fired from Residenzteater, Munich. (June)
Films Fanny and Alexander. (November-early summer 1982)
IB reinstated at Residenzteater (under new management). (December)
1982
IB announces retirement from the cinema.
IB appears at National Film Theatre, London. (September)
Fanny and Alexander opens. (December)
1983
Films After the Rehearsal (for TV).
Don Juan (Jean-Baptiste Molière), Hof Theatre, Salzburg.
Films Karin's Face, a short tribute to his mother.
IB attends Venice Festival, with complete version of Fanny and Alexander. (September)
The School for Wives (Jean-Baptiste Molière), TV production. (December)
1984
King Lear (William Shakespeare), Royal Dramatic Theatre, Stora Scenen, Stockholm.
(March)
Fanny and Alexander wins four Academy Awards. (April)
After the Rehearsal (own script), TV production. (April)
After the Rehearsal is screened at Cannes Festival. (May)
From the Life of the Rainworms (P.O. Enquist), Residenzteater, Munich. (May)
A Hearsay (Erland Josephson), radio production. (September)
Fanny and Alexander, TV production (complete version). (December)
1985
John Gabriel Borkman (Henrik Ibsen), Bavarian State Theatre, Munich. (May)
Films The Blessed Ones (directs only, for TV).
IB's brother, Dag, dies.
Miss Julie (August Strindberg), Royal Dramatic Theatre, Stockholm. (December)
1986
The Blessed Ones (Ulla Isaksson), TV production. (January)
Olof Palme assassinated in Stockholm.
A Dream Play (August Strindberg), Royal Dramatic Theatre, Lilla Scenen, Stockholm.
(April)
IB completes autobiography, Laterna Magica. (September)
Miss Julie (August Strindberg), Royal Dramatic Theatre, Stockholm. (December)
Hamlet (William Shakespeare), Royal Dramatic Theatre, Stora Scenen, Stockholm.
(December)
1987
Autobiography Laterna Magica is published in Sweden.
IB told by doctors to rest from his usual theatre schedule.
1988
Long Day's Journey Into Night (Eugene O'Neill), Royal Dramatic Theatre, Stora Scenen,
Stockholm. (April)
1989
Madame De Sade (Yukio Mishima), Royal Dramatic Theatre, Lilla Scenen, Stockholm.
(April)
IB announces that his book The Best Intentions will be filmed by Danish director Bille
August.
A Doll's House (Henrik Ibsen), Royal Dramatic Theatre, Stora Scenen, Stockholm.
(November)
Ingmar Bergman
Chronology
1990s
1990
A Spiritual Matter [En själslig angelägenhet] (own play), radio production. (January)
IB completes Bilder, a book of recollections about his films. (June)
Bilder is published in Sweden. (October)
1991
Peer Gynt (Henrik Ibsen), Royal Dramatic Theatre, Målarsalen, Stockholm. (April)
The Bacchae (text by Euripides, music by Börtz), Royal Theatre (Stockholm Opera).
(November)
The Best Intentions (own script, directed by Bille August), TV production. (December)
1993
The Room and the Time (Botho Strauss), Royal Dramatic Theatre, Lilla Scenen,
Stockholm. (March)
The Last Scream (own script), The Swedish Film Institute, Stockholm. (March)
1994
Films The Last Scream (own script, for TV). (January)
Goldberg Variations (George Tabori), Royal Dramatic Theatre, Målarsalen, Stockholm.
(February)
The War's Tale (William Shakespeare), Royal Dramatic Theatre, Stora Scenen,
Stockholm. (April)
1995
The Misanthrope (Jean-Baptiste Molière), Royal Dramatic Theatre, Stora Scenen,
Stockholm. (February)
Wife, Ingrid, dies. (May)
Bergman Festival in New York. (May-August)
IB announces his retirement from the theatre. (fall)
1996
Yvonne, Princess of Burgundy (Witold Gombrowicz), Royal Dramatic Theatre, Stora
Scenen, Stockholm. (February)
The Bacchae (text by Euripides, music by Börtz), Royal Dramatic Theatre, Målarsalen,
Stockholm.
Films Larmar och gör sig till (own script, for TV). (October-November)
1997
Larmar och gör sig till (own script), TV production. (November)
1998
Bildmakarna (P.O. Enquist), Royal Dramatic Theatre, Stockholm. (February)
Ingmar Bergman
Profile
From The International Dictionary of Films and Filmmakers
Ingmar Bergman's unique international status as a filmmaker would seem assured on

many grounds. His reputation can be traced to such diverse factors as his prolific output
of largely notable work (40 features from 1946-82); the profoundly personal nature of his
best films since the 1950s; the innovative nature of his technique combined with its
essential simplicity, even when employing surrealistic and dreamlike treatments (as, for
example, in Wild Strawberries and Persona); his creative sensitivity in relation to his
players; and his extraordinary capacity to evoke distinguished acting from his regular
interpreters, notably Gunnar Björnstrand, Max von Sydow, Bibi Andersson, Ingrid
Thulin, and Liv Ullmann.
After an initial period of derivative, melodramatic filmmaking largely concerned with

bitter man-woman relationships ("I just grabbed helplessly at any form that might save
me, because I hadn't any of my own," he confesses in Bergman on Bergman), Bergman
reached an initial maturity of style in Summer Interlude and Summer with Monika,
romantic studies of adolescent love and subsequent disillusionment. In Sawdust and
Tinsel he used a derelict travelling circus—its proprietor paired with a faithless young
mistress and its clown with a faithless middle-aged wife—as a symbol of human
suffering through misplaced love and to portray the ultimate loneliness of the human
condition, a theme common to much of his work. Not that Bergman's films are all gloom
and disillusionment. He has a recurrent, if veiled, sense of humour. His comedies, such as
A Lesson in Love and Smiles of a Summer Night, are ironically effective ("You're a
gynecologist who knows nothing about women," says a man's mistress in A Lesson in
Love), and even in Wild Strawberries the aged professor's relations with his housekeeper
offer comic relief. Bergman's later comedies, the Shavian The Devil's Eye and All These
Women, are both sharp and fantastic.
"To me, religious problems are continuously alive ... not ... on the emotional level, but on
an intellectual one," wrote Bergman at the time of Wild Strawberries. The Seventh Seal,
The Virgin Spring, Through a Glass Darkly, Winter Light, and The Silence lead
progressively to the rejection of religious belief, leaving only the conviction that human
life is haunted by "a virulent, active evil." The crusading knight of The Seventh Seal who
cannot face death once his faith is lost survives only to witness the cruelty of religious
persecution. In Bergman's view, faith belongs to the simple-minded and innocent. The
Virgin Spring exposes the violence of vengeance in a period of primitive Christianity.
Bergman no longer likes these films, considering them "bogus"; nevertheless, they are
excellently made in his highly professional style. Disillusionment with Lutheran denial of
love is deep in Winter Light. "In Winter Light I swept my house clean," Bergman has
said. Other Bergman films reflect his views on religion as well: the mad girl in Through a
Glass Darkly perceives God as a spider, while the ailing sister in The Silence faces death
with a loneliness that passes all understanding as a result of the frigid silence of God in
the face of her sufferings. In The Magician, however, Bergman takes sardonic delight in
letting the rationalistic miracle-man suspect in the end that his bogus miracles are in fact
genuine.
With Wild Strawberries, Bergman turned increasingly to psychological dilemmas and

ethical issues in human and social relations once religion has proved a failure. Above all
else, the films suggest, love, understanding, and common humanity seem lacking. The
aged medical professor in Wild Strawberries comes through a succession of dreams to
realize the truth about his cold and loveless nature. In Persona, the most psychologically
puzzling, controversial, yet significant of all Bergman's films-with its Brechtian
alienation technique and surreal treatment of dual personality-the self-imposed silence of
the actress stems from her failure to love her husband and son, though she responds with
horror to the self-destructive violence of the world around her. This latter theme is carried
still further in The Shame, in which an egocentric musician attempts non-involvement in
his country's war only to collapse into irrational acts of violence himself through sheer
panic. The Shame and Hour of the Wolf are concerned with artists who are too self-
centered to care about the larger issues of the society in which they live.
"It wasn't until The Passion of Anna that I really got to grips with the man-woman
relationship," says Bergman. The Passion of Anna deals with "the dark, destructive
forces" in human nature which sexual urges can inspire. Bergrnan's later films reflect, he
claims, his "ceaseless fascination with the whole race of women," adding that "the film ...
should communicate psychic states." The love and understanding needed by women is
too often denied them, suggests Bergman. Witness the case of the various women about
to give birth in Brink of Life and the fearful, haunted, loveless family relationships in
Cries and Whispers. The latter, with The Shame and The Serpent's Egg, is surely among
the most terrifying of Bergman's films, though photographed in exquisite colour by Sven
Nykvist, his principal cinematographer.
Man-woman relationships are successively and uncompromisingly examined in a series

of Bergman films. The Touch shows a married woman driven out of her emotional depth
in an extra-marital affair; Face to Face, one of Bergman's most moving films, concerns
the nervous breakdown of a cold-natured woman analyst and the hallucinations she
suffers; and a film made as a series for television (but reissued more effectively in a
shortened, re-edited form for the cinema, Scenes from a Marriage) concerns the troubled,
long-term love of a professional couple who are divorced but unable to endure separation.
Supreme performances were given by Bibi Andersson in Persona and The Touch, and by
Liv Ullmann in Cries and Whispers, Scenes from a Marriage and Face to Face.
Bergman's later films, made in Sweden or during his period of self-imposed exile, are
more miscellaneous. The Magic Flute is one of the best, most delightful of opera-films.
The Serpent's Egg is a savage study in the sadistic origins of Nazism, while Autumn
Sonata explores the case of a mother who cannot love. Bergman declared his filmmaking
at an end with his brilliant, German-made misanthropic study of a fatal marriage, From
the Life of the Marionettes, and the semi-autobiographical television series Fanny and
Alexander. Swedish-produced, the latter work was released in a re-edited version for the
cinema. Set in 1907, Fanny and Alexander is the gentle, poetic story of two years in the
lives of characters who are meant to be Bergman's maternal grandparents.
After Fanny and Alexander, Bergman directed After the Rehearsal, a small-scale drama
which reflected his growing preoccupation with working in the theatre. It features three
characters: an aging, womanizing stage director mounting a version of Strindberg's The
Dream Play; the attractive, determined young actress who is his leading lady; and his
former lover, once a great star but now an alcoholic has-been, who accepts a humiliating
bit role in the production.
After the Rehearsal was not Bergman's cinematic swan song. He went on to author two
scripts which are autobiographical outgrowths of Fanny and Alexander. The Best
Intentions, directed by Bille August, is a compassionate chronicle of ten years in the
tempestuous courtship and early marriage of Bergman's parents. His father starts out as
an impoverished theology student who is unyielding in his views. His mother is spirited
but pampered, the product of an upper-class upbringing. The film also is of note for the
casting of Max von Sydow as the filmmaker's maternal grandfather. The actor's presence
is most fitting, given the roots of the scenario and his working relationship with Bergman,
which dates back to the 1950s.
The Best Intentions was followed by Sunday's Children, directed by Bergman's son
Daniel. The film is a deeply personal story of a ten year-old boy named Pu, who is
supposed to represent the young Ingmar Bergman. Pu is growing up in the Swedish
countryside during the 1920s. The scenario focuses on his relationship to his minister
father and other family members; also depicted is the adult Pu's unsettling connection to
his elderly dad.
Commentary
Bergman on Bergman
IDEOLOGY
My basic view of things is—not to have any basic view of things. From having been
exceedingly dogmatic, my views on life have gradually dissolved. They don't exist any
longer.
Bergman on Bergman (1968)
ART AND POLITICS

It's not often I depict current events. Take, for instance, that poem which introduces
Persona and depicts a situation at a particular moment. Art used to be able to be an act of
political incitement, it could suggest a political action. Today art, in this respect, has
completely played itself out.
Political activity today is precipitated by the news, by television's immediate closeness
to what is going on all over the world. In this respect art has missed the boat completely.
Artists are hardly the social visionaries they used to be. And they mustn't imagine they
are! Reality is running away from artists and their political visions.
DREAMS
No other art-medium—neither painting nor poetry—can communicate the specific

quality of the dream as well as the film can. When the lights go down in the cinema and
this white shining point opens up for us, our gaze stops flitting hither and thither, settles
and becomes quite steady. We just sit there, letting the images flow out over us. Our will
ceases to function. We lose our ability to sort things out and fix them in their proper
places. We're drawn into a course of events—we're participants in a dream. And
manufacturing dreams, that's a juicy business.
Sometimes while I'm dreaming I think: 'I'll remember this, I'll make a film of it'—it's a
sort of occupational disease.
AUGUST STRINDBERG
Strindberg has followed me all my life. Sometimes I've felt deeply attracted to him,
sometimes repelled....he expressed things which I'd experienced and which I couldn't find
words for.
SCRIPTWRITING
For a long time I go about with one or two ideas in my head, gathering material, making
notes, and so on. Since I've always been busy with so many things, I've had to be
methodical about the way I divide up my working time. I know a time will come when I
shall be able to say: 'Now I've got six or eight weeks, when I can write my script.' So it's
all planned well in advance. Then all I have to do is to sit down and make a start. After
which the writing of the script goes on in a very, very methodical, very disciplined, very
pedantic fashion.
ACTORS
An actor exposes himself. He exposes his voice. He exposes his body. He exposes his
soul to the public, from a stage, before a camera, or a microphone. In the moment of self-
exposure he feels a strong need to have an eye or an ear on him all the time, correcting
and controlling; just as a dancer has his mirror, or the musician a tape recorder. It's a
perfectly legitimate need, which me must understand and gratify.
FILM RUSHES
Looking at our own rushes we have to act as if we were our own critics—but completely
objective and unneurotic critics, without any crises of conscience. The material goes
rushing by, and all that matters is to decide what's good and what's bad. Only on these
terms can one go ahead. And the same applies in the cutting room, and when the film is
first run. I think it was Faulkner who coined the expression 'kill your darlings'. These two
rules, for me, are basic.
LONG SHOT VS. CLOSE-UP
Long shot versus close-up arises out of an ambivalence in the director

himself....Suddenly one morning you can feel you're bursting with vitality. You're seized
with a sudden need to get to grips with your devils, challenge them, force them up against
the wall. In the best of humours you want to torment them till they yield their last
possible ounce of expressiveness. To force them to burst their bounds. Sometimes in
close-ups simply because the situation demands close-ups. Sometimes you feel a violence
urge to burst all bounds, both your own and the actors'. If so, you know how immensely
revealing, how dreadfully difficult the close-up is, not to mention the line of dialogue that
belongs to it.
Some days you feel nothing but a huge revulsion and fatigue. Most of all you'd like to
go home, or bawl everyone out, or just stand in a corner and whimper. Then suddenly
you feel—'Ah, now I want to make long shots, now I want them at a distance, far far
away!' And you ask yourself: 'But will it work? Yes, here it'll work, here it's even fine to
have long shots.'

THE CAMERA
The more excited, the more raw, horrible, brutal, or elaborate a scene is, the better it is to
keep the camera an objective mediant. If the camera gets all excited and begins skipping
about all over the bloody place, you lose a lot. It's you, the 'audience', who must feel it,
whom it's got to strike. If the camera forces its way between and begins talking about its
own emotions, usually it will just get in the way, and prevent you from experiencing
anything.
TELEVISION
I'm no bookworm. Never have been, never will be. But of everything to do with pictures
and images I'm omnivorous. All that affects me intensely, closely. Whatever is visible or
audible—image and sound—that's what affects me most.
Ingmar Bergman
Filmography
Bergman has survived his own fashion. His stature is secure, and the films are there for
the ages. The very early films are now in need of rediscovery—but that will only prepare
fresh generations for the journey through his career. For so many people, Bergman has
been the man who showed the way to a cinema of the inner life.
David Thomson, A Biographical Dictionary of Film
The following is a complete chronological listing of theatrical films,as well as Swedish

television films which received theatrical release elsewhere,on which Bergman worked as
director and/or writer.
For each film, there is a page containingsuch information as production data, credits, cast,
commentary, and bibliography.As well, we have attempted to give our own five-star
ratings for thosefilms that we have seen—as a short-hand guide only!
An additional listing of alternateEnglish-language titles is also available.

Year Title Original title Bergman's credits
1944 Torment Hets writer
1946 Crisis Kris director, writer
1946 It Rains on Our Love Det regnar på vår kärlek director, co-writer
1947 Woman Without a Face Kvinna utan ansikte co-writer
1947 A Ship Bound for India Skepp till Indialand director, writer (adaptation)
1948 Night is My Future Musik i mörker director
1948 Port of Call Hamnstad director, co-writer
1948 Eva Eva co-writer, original story
1949 The Devil's Wanton Fängelse director, writer
1949 Three Strange Loves Törst director
1950 To Joy Till glädje director, writer
1950 While the City Sleeps Medan staden sover synopsis
1950 This Can't Happen Here Sånt händer inte här director
1951 Summer Interlude Sommarlek director, co-writer
1951 Divorced Frånskild co-writer, synopsis
1952 Secrets of Women Kvinnors väntan director, writer
1953 Summer with Monika Sommaren med Monika director, co-writer
1953 Sawdust and Tinsel Gycklarnas afton director, writer
1954 A Lesson in Love En lektion i kärlek director, writer
1955 Dreams Kvinnodröm director, writer
1955 Smiles of a Summer Night Sommarnattens leende director, writer
1956 Last Couple Out Sista paret ut co-writer, original story
1957 The Seventh Seal Det sjunde inseglet director, writer
1957 Wild Strawberries Smultronstället director, writer
1958 Brink of Life Nära livet director, co-writer (adaptation)
1958 The Magician Ansiktet director, writer
1960 The Virgin Spring Jungfrukällan director
1960 The Devil's Eye Djävulens öga director, writer (adaptation)
1961 Through a Glass Darkly Såsom i en spegel director, writer
1961 The Pleasure Garden Lustgården [co-writer], artistic advisor
1962 Winter Light Nattvardsgästerna director, writer
1963 The Silence Tystnaden director, writer
1964 All These Women För att inte tala om alla dessa kvinnor director, [co-
writer]
1966 Persona Persona director, writer
1967 Stimulantia [Daniel episode] Stimulantia director, writer,
photographer,speaker
1968 Hour of the Wolf Vargtimmen director, writer
1968 Shame Skammen director, writer
1969 The Rite Riten director, writer, performer
1969 The Passion of Anna En Passion director, writer
1970 The Fårö Document Fårö-dokument director, performer
1970 The Touch Beröringen director, writer
1972 Cries and Whispers Viskningar och rop director, writer
1973 Scenes from a Marriage Scener ur ett äktenskap director, writer
1975 The Magic Flute Trollflöjten director, writer (adaptation)
1976 Face to Face Ansikte mot ansikte director, writer
1977 The Serpent's Egg Das Schlangenei director, writer
1978 Autumn Sonata Herbstsonate director, writer
1979 The Fårö Document 1979 Fårö-dokument 1979 director, narrator
1980 From the Life of the Marionettes Aus dem Leben des Marionetten
producer, director, writer
1982 Fanny and Alexander Fanny och Alexander director, writer
1984 After the Rehearsal Efter repetitionen director, writer
1991 The Best Intentions Den goda viljan writer
1992 Sunday's Children Söndagsbarn writer
1996 Private Confessions Enskilda samtal writer
1997 In the Presence of a Clown Larmar och görsig till director, writer
2000 Faithless Trolösa writer
Ingmar Bergman
A Life in the Theatre
The following is a chronological listing of the "major" theatrical productions on which

Bergman has worked as director. It is as complete as possible, however we would of
course be grateful to receive information regarding any omissions, errors, etc.
For each production, there will be a page containing basic information such as production
credits and cast.
Premiere Title Playwright

13.04.40 Macbeth William Shakespeare
20.09.41 The Ghost Sonata August Strindberg
21.09.44 Lady Ascheberg of Widtskövle Brita von Horn, Elsa Collin
10.10.44 Who Am I? Carl Erik Soya
01.01.45 Kriss-Krass-Filibom [New Year's Cabaret] Sture Ericsson, Rune Moberg
07.02.45 The Legend Hjalmar Bergman
12.04.45 Morality Reduced Sune Bergström
12.09.45 Jacobowsky and the Colonel Franz Werfel
01.11.45 Rabies Olle Hedberg
25.11.45 The Pelican August Strindberg
06.03.46 Requiem Björn-Erik Höijer
12.09.46 Rachel and the Cinema Doorman Ingmar Bergman
29.11.46 Caligula Albert Camus
12.01.47 The Day Ends Early Ingmar Bergman
29.03.47 Magic G.K. Chesterton
26.10.47 To My Terror Ingmar Bergman
08.02.48 Dance on the Wharf Björn-Erik Höijer
11.09.48 Thieves' Carnival Jean Anouilh
11.02.49 A Restless Heart Jean Anouilh
01.03.49 A Streetcar Named Desire Tennessee Williams
03.02.50 Divine Words Ramón María del Valle-Inclán
17.10.50 The Threepenny Opera Bertolt Brecht
28.12.50 A Shadow Hjalmar Bergman
28.12.50 Medea Jean Anouilh
19.04.51 Light in the Hovel Björn-Erik Höijer
15.11.51 The Rose Tattoo Tennessee Williams
14.02.52 The Murder at Barjärna Ingmar Bergman
14.11.52 The Crown Bride August Strindberg
21.11.53 Six Characters in Search of an Author Luigi Pirandello
19.12.53 The Castle Max Brod
01.10.54 The Merry Widow Franz Lehár
22.10.54 Twilight Games Ingmar Bergman and C-G. Kruuse
04.01.55 Don Juan Jean-Baptiste Molière
05.02.55 Teahouse of the August Moon John Patrick
18.03.55 Painting on Wood Ingmar Bergman
27.10.55 Leah and Rachel Vilhelm Moberg
28.01.56 The Poor Bride Alexander Ostrovsky
19.10.56 Cat on a Hot Tin RoofTennessee Williams
07.12.56 Erik XIV August Strindberg
08.03.57 Peer Gynt Henrik Ibsen
06.12.57 The Misanthrope Jean-Baptiste Molière
17.10.58 Ur-Faust Johann W. Goethe
19.12.58 The People of Värmland F.A. Dahlgren
06.01.61 The Seagull Anton Chekhov
22.04.61 The Rake's Progress Igor Stravinsky
04.10.63 Who's Afraid of Virginia Woolf Edward Albee
04.06.64 Three Knives from Wei Harry Martinsson
17.10.64 Hedda Gabler Henrik Ibsen
??.03.65 Don Juan Jean-Baptiste Molière
04.12.65 Tiny Alice Edward Albee
13.02.66 The Investigation Peter Weiss
20.11.66 The School for Wives Jean-Baptiste Molière
20.11.66 The Criticism of the School for Wives (prologue) Jean-Baptiste Molière
01.04.67 Six Characters in Search of an Author Luigi Pirandello
12.03.69 Woyzeck Georg Büchner
14.03.70 The Dream Play August Strindberg
20.03.71 Show Lars Forssell
17.03.72 The Wild Duck Henrik Ibsen
01.02.74 To Damascus August Strindberg
07.03.75 Twelfth Night William Shakespeare
19.05.77 A Dream Play August Strindberg
22.06.78 Three Sisters Anton Chekhov
13.01.79 Tartuffe Jean-Baptiste Molière
10.05.80 Yvonne, Princess of Burgundy Witold Gombrowicz
30.04.81 Nora / Julie Henrik Ibsen / August Strindberg
30.04.81 Scenes from a Marriage Ingmar Bergman
27.07.83 Don Juan Jean-Baptiste Molière
09.03.84 King Lear William Shakespeare
04.05.84 From the Life of the Rainworms P.O. Enquist
31.05.85 John Gabriel Borkman Henrik Ibsen
07.12.85 Miss Julie August Strindberg
25.04.86 A Dream Play August Strindberg
20.12.86 HamletWilliam Shakespeare
16.04.88 Long Day's Journey into Night Eugene O'Neill
08.04.89 Madame de Sade Yukio Mishima
17.11.89 A Doll's House Henrik Ibsen
27.04.91 Peer Gynt Henrik Ibsen
02.11.91 The Bacchae text by Euripides, music by Daniel Börtz
04.02.93 The Last Scream Ingmar Bergman
20.03.93 The Time and the Room Botho Strauss
04.02.94 Goldberg Variations George Tabori
29.04.94 The Winter's Tale William Shakespeare
24.11.95 Yvonne, Princess of Burgundy Witold Gombrowicz
15.03.96 The Bacchae Euripides
13.02.98 The Image Makers P.O. Enquist
16.12.00 Mary Stuart Friedrich von Schiller
09.02.02 Ghosts Henrik Ibsen
Ingmar Bergman
Television Works
The following is a chronological listing of the television productions on which Bergman

has worked as director and/or writer. It is as complete as possible, however we would of
course be grateful to receive information regarding any omissions, errors, etc. (Please
note that television films which received theatrical release have been listed both here and
in the filmography.)
credits and cast.
Date Title Bergman's Credits

18.04.57 Mr. Sleeman is Coming director
21.02.58 The Venetian director
07.11.58 Rabies director
22.01.60 Storm Weather director
22.04.63 Painting on Wood writer
02.05.63 A Dream Play director
03.11.65 Don Juan director
25.03.69 The Rite director, writer
28.10.70 Reservatet [The Sanctuary] writer
11.04.73 Scenes from a Marriage director, writer
??.??.74 The Misanthrope director
01.01.75 The Magic Flute director, writer (adaptation)
17.12.83 Fanny and Alexander director, writer
25.12.83 The School for Wives director
09.04.84 After the Rehearsal director, writer
19.02.86 The Blessed Ones director
25.12.91 The Best Intentions writer
17.04.92 Madame de Sade director
10.04.93 The Bacchae director
06.01.95 The Last Gasp director, writer
01.11.97 In the Presence of a Clown director, writer
15.11.00 The Image Makers director
Ingmar Bergman
On the Radio
The following is a chronological listing of the "major" radio productions on which

Bergman has worked as director. It is as complete as possible, however we would of
course be grateful to receive information regarding any omissions, errors, etc.
credits and cast.
Date Title Bergman's Credits

15.03.46 Requiem director, writer (adaptation)
19.05.46 Rabies director, writer (adaptation)
??.12.46 Summer director, writer (adaptation)
28.07.47 The Dutchmandirector
10.09.47 The Waves director
23.11.47 Playing with Fire director
09.09.48 Lodolezzi Sings director
04.11.48 Maternal Lovedirector, writer (adaptation)
14.07.49 Draw Blank director, writer
12.02.51 Medea director
09.05.51 The City writer
16.08.51 Summer director
??.??.51 Vox Humana director
25.12.51 The People of Värmland director
08.01.52 The Guiltburden of the Night director
22.01.52 Crimes and Crimes director
06.03.52 Blood Wedding director
13.04.52 Easter director, writer (adaptation)
26.06.52 The Day Ends Early writer
04.12.52 A Restless Heart director
12.03.53 Unto My Fear writer
16.04.53 A Bonfire director
08.10.53 The Dutchmandirector
21.09.54 Painting on Wood director, writer
12.12.54 The Apple-Tree Tabledirector
21.05.55 The Ball director
29.09.55 The Monk Strolls in the Meadow director
01.01.56 Grandma and Our Lord director
01.04.56 Everyman director
23.05.56 The Tunnel director
02.12.56 Portrait of a Madonna director
19.04.57 The Prisoner director
16.11.57 Cardsharpers director
18.09.58 The Legend director, co-writer (adaptation)
13.11.58 He who Nothing Owns director
11.08.60 First Warning director
22.01.61 Playing with Fire director
07.05.61 The Rake's Progress (opera) director
??.??.62 Ein gestrenger Herr writer
13.09.66 The Investigation director
02.09.84 A Hearsay director
14.01.90 A Mental Affair director, writer
??.??.90 A Matter of the Soul / A Mental Affair writer
09.04.93 The Bacchae (opera) director
29.08.99 Storm Weather director, writer (adaptation)
??.10.01 John Gabriel Borkman director (?)
Ingmar Bergman
Writings
Published Books, Scripts, and Articles by Ingmar Bergman
Autumn Sonata. Translated by Alan Blair. New York: Pantheon Books, 1979.
Bergman on Bergman. Edited by Stig Björkman, Torsten Manns, and Jonas Sima.
Translated by Paul Britten Austin. New York: Simon & Schuster, 1973.
"Bergman on Victor Sjöström." Sight and Sound (Spring 1960).
The Best Intentions. Translated by Joan Tate. New York: Arcade, 1993.
"Chacun de mes films est le dernier." Cahiers du Cinéma, no. 100 (1959).
"Dreams and Shadows." Films and Filming (October 1956).
"Each Film Is My Last." Films and Filming (July 1959). Reprinted in Tulane Drama
Review (1966).
Face to Face. Translated by Alan Blair. New York: Pantheon Books, 1976.
A Film Trilogy. Translated by Paul Britten Austin. New York: Orion Press, 1967.
Screenplays of Through a Glass Darkly, Winter Light, and The Silence.
Four Screenplays of Ingmar Bergman. Translated by Lars Malmström and David

Kushner. New York: Simon & Schuster, 1960. Screenplays of Smiles of a Summer
Night, The Seventh Seal, Wild Strawberries, and The Magician.
Four Stories by Ingmar Bergman. Translated by Alan Blair. New York:

Doubleday/Anchor Press, 1977. Includes The Touch, Cries and Whispers, Hour of the
Wolf, and The Passion of Anna.
From the Life of the Marionettes. Translated by Alan Blair. New York: Pantheon Books,
1980.
Images: My Life in Film. Translated by Marianne Ruuth. New York: Arcade, 1994.
"Ingmar Bergman: The Serpent's Skin." Cahiers du Cinéma in English (New York), no.
11 (September 1967).
The Magic Lantern. Translated by Joan Tate. London: Hamish Hamilton/New York:
Viking, 1988.
Oeuvres. Translated into French by G.C. Bjurström and Maurice Fons. Paris: Robert
Laffont, 1962. Screenplays of Summer Interlude, The Naked Night, Smiles of a Summer
Night, The Seventh Seal, Wild Strawberries, and The Magician.
"A Page from My Diary." Cinéma 60 (November-December 1960).
Persona and Shame. Translated by Keith Bradfield. New York: Grossman, 1972.
Private Confessions. Translated by Joan Tate. New York: Arcade, 1996.
Scenes from a Marriage. Translated by Alan Blair. New York: Pantheon Books, 1974.
"Schizophrenic Interview with a Nervous Film Director." By Ernest Riffe [pseudonym

for Bergman]. Film in Sweden, no. 3 (1968). Reprinted in Take One (January-February
1969).
"Self-Analysis of a Film-maker." Films and Filming (September 1956).
The Serpent's Egg. Translated by Alan Blair. New York: Pantheon Books, 1978.
"The Snakeskin." Sight and Sound (August 1965).
Staden, Hörspel. Presented by Claes Hoogland. Sveriges Radio, Stockholm, 1951.
Sunday's Children. Translated by Joan Tate. New York: Arcade, 1994.
The Virgin Spring. Translated by Lars Malmström and David Kushner. New York:
Ballantine Books, 1960. Note: screenplay by Ulla Isaksson.
Wood Painting: A Morality Play. Translated by Randolph Goodman and Leif Sjöberg.
Tulane Drama Review, 1961.
Smultronstallet, 1957
[Wild Strawberries]
Wild Strawberries captures the thoughtful and compassionate side of Ingmar Bergman
rarely seen in his films. It is the story of an aging man's introspective journey on the
meaning of his life, and inevitability of death. Professor Isak Borg (Victor Sjostrom) is
compiling his memoirs in preparation for an honorary degree that he is to receive for 50
years of medical practice. After an incomprehensible nightmare, he impulsively changes
his travel plans, and decides to drive to Lund with his daughter-in-law, Marianne (Ingrid
Thulin). Marianne is separated from his son, Evald (Gunnar Bjornstrand), but decides to
go home and reconcile with him. The road to Lund is a reluctant path that takes Professor
Borg through his youth: the family's summer cottage, the town he served as a physician,
and his mother's house. He meets a young hitchhiker named Sara (Bibi Andersson) who
reminds him of first love. He rescues a stranded, verbally abusive husband and his
suffering wife, who undoubtedly reflect his cruelty to his late wife. In the course of their
journey, he confronts his past failures, and reconciles with his life, and mortality.
Allegorical dreams are integral to the film's theme. Professor Borg's runaway carriage
dream is similar to the dream sequence in Fyodor Dostoevsky's Crime and Punishment,
signifying the burden of life, guilt, and inescapability of death. The dream is obscure and
surreal, as if the mind is in denial of its fate. In contrast, the summer cottage dream is
lucid, nostalgic, and melancholy. Professor Borg reluctantly awakens from it with a
profound sense of loss and regret. His most unsettling dream occurs in a lecture hall
because it is a place that has defined his existence. Having become alienated from his
family, and denied his skills, his life, and legacy, are lost. The final dream occurs after he
attempts to reunite Evald and Marianne. Recalling a family picnic by the lake, the effect
is warm, peaceful, and redemptive. It is a subtly beautiful affirmation of reconciliation
and closure.
© Acquarello 1998. All rights reserved.
Jungfrukällan (1960)
[The Virgin Spring]
In the darkness of a breaking dawn, a lascivious, unmarried, expectant woman named

Ingeri (Gunnel Lindblom) dispassionately performs her morning ritual: preparing a fire
on the stove, opening the roof door in order to allow the daylight to stream in, invoking
the Norse god Odin in an envious and vengeful plea. In another room, the feudal
landowner Töre (Max von Sydow) and his wife Märeta (Birgitta Valberg) solemnly recite
their morning prayers and perform a symbolic act of penitence in remembrance of Jesus
Christ's suffering, before joining the tenant farmers and servants at the communal table.
Their coddled, fanciful, and vain daughter, Karin (Birgitta Pettersson), is noticeably
absent from the breakfast table after spending a late evening at the village dance, and
Märeta is quick to excuse her oversleeping as a symptom of an ensuing illness. Töre
reminds Märeta of Karin's obligation to bring the Virgin Mary candles to church, and
criticizes Märeta's excessive leniency towards their only surviving child. Karin
reluctantly awakens and eventually agrees to bring the candles to church, but only after
cajoling Märeta into allowing her to wear a lavish and elaborate dress that has been set
aside for the church offering. Accompanied by Ingeri, Karin journeys through the dark
and ominous forest and soon finds her faith and humanity tested when she encounters a
desperate, lawless, and morally bankrupt band of goat herdsmen.
Adapted from a fourteenth century Swedish legend by screenwriter and novelist Ulla
Isaksson, The Virgin Spring is a harrowing, yet ultimately affirming portrait of faith,
humanity, and atonement. Using chiaroscuro imagery that interplays light and shadows,
Ingmar Bergman reflects the process of spiritual illumination in the transitional era of the
Middle Ages where mysticism, amorality, and paganism coexisted with the period of
intellectual, artistic, and religious enlightenment: the opening image of Ingeri performing
her chores that transitions into an illuminated crucifix as Töre and Märeta pray; the
physical dissimilarity between the fair haired Karin and the dark haired "adopted" Ingeri;
the stark visual contrast between the dark and claustrophobic interiors of the farmhouse
and the sunlit path along the stream; the light precipitation of snow after the brothers'
unconscionable act. As Ingeri (the allusional fallen sinner, Mary Magdalene) becomes a
witness to the manifestation of secular discord and divine grace, she follows her own
figurative path from religious darkness and moral bankruptcy to a state of spiritual
baptism and enlightenment.
Sasom i en spegel, 1961

[Through a Glass Darkly]
Four people emerge from the austere horizon, heading for the shore of a seemingly
desolate island: a successful writer, David (Gunnar Bjornstrand), his adolescent son,
Minus (Lars Passgard), his fragile daughter, Karin (Harriet Andersson), and Karin's
husband, Martin (Max von Sydow). Surrounded by her family, Karin is brought to the
remote island in order to facilitate her recuperation from a nervous breakdown. But it is
soon evident that her family is so consumed by their own frailties and self-absorption that
they are impotent to prevent a psychotic relapse. David studies her with a clinical
detachment of a psychological experiment. Martin's medical training proves ineffectual
as he attempts to alleviate her anguish by consenting to her delusions. Minus is
preoccupied with his own sexual awakening, and sees Karin as a convenient insight into
the female psyche. Like most Bergman films, Through a Glass Darkly is a portrait of
loneliness and alienation. Note the perfectly framed, shattering scene where David cries
uncontrollably upon realizing how distant he and his children have grown. Another is
Minus' plea to God as he retrieves a blanket for Karin. As in Krzysztof Kieslowski's Red,
emotional honesty is revealed in moments of isolation.
Through a Glass Darkly is the first film of Ingmar Bergman's religious chamber trilogy,
influenced by the minimal instrumentation of chamber music. The film is visually spare,
stark, and metaphoric. Note Karin's disintegration inside the hull of a shipwreck,
symbolizing the tormented soul. It is a brooding, highly personal film that seeks
validation for Bergman's religious upbringing and the essence of God. David tells Minus:
"I don't know if love proves God's existence, or love is God Himself." In the end, Karin
sees God behind the attic door - and it is a cold, stony faced spider - a painful reflection
of her own family's deceptive love: a false god.
Nattvardsgasterna, 1963
[The Communicants/Winter Light]
The order of mass is methodically performed before a dwindling congregation: a school

teacher, Marta (Ingrid Thulin), a troubled parishioner, Jonas Persson (Max von Sydow)
and Jonas' wife, Karin (Gunnel Lindblom). But the ritual no longer holds any significance
for its messenger, pastor Tomas (Gunnar Bjornstrand), who has a crisis of faith. Note
several framed shots of a fevered, anguished Tomas juxtaposed against a sculpture of the
Crucifixion. Distant and cruel to the woman who loves him (symbolically, Marta's skin
condition is a literal rejection of the flesh), he is passionless and mechanical. When an
angst ridden, suicidal Jonas seeks guidance on a perceived imminent nuclear holocaust,
doubting Tomas can only offer his own uncertainty, and cannot save him.
Perhaps the most spiritually bleak and visually stark of Ingmar Bergman's religious
chamber series, Winter Light, the second film of the trilogy, is a transitional film, both
thematically and conceptually. It marks Bergman's final exploration of religious faith,
and serves as a prelude to the human relational drama of his subsequent work. Similar to
Through a Glass Darkly, minimal cast, dialogue, and scenery pervade the film, distilling
the atmosphere, and story, to its fundamental essence: God's silence. The use of
monologues, prolonged silences, and extreme close-ups convey character introspection
and emotional isolation. Furthermore, the barren landscape, seasonal climate, and Tomas'
illness serve to further reflect the cold emptiness of his soul. In the end, Tomas returns to
the sanctity of the ceremonial mass - the one constant in his life - ministering the hollow
words for those who seek comfort behind their meaning, deriving from them a reflection
of their own spirituality and emotional equilibrium: an echo god.
Tystnaden, 1963
[The Silence]
Three passengers suffocate in the sweltering heat of a confining train cabin, traveling
through a foreign country, seemingly on the brink of war: a fragile translator, Esther
(Ingrid Thulin), her sister Anna (Gunnel Lindblom), and Anna's son Johan (Jorgen
Lindstrom). Suffering from a bronchial attack, Esther checks into a hotel room, with
Anna and Johan occupying the adjoining suite. Soon, Esther's excessive attachment
proves too stifling for the sensual Anna, who leaves them and goes to a night club. The
bedridden Esther indulges herself with cigarettes and alcohol, attempting to suppress her
pain. Johan is left to his own devises and explores the near desolate hotel, encountering a
kind, elderly hotel manager, and a dwarf carnival troupe. Distant at first towards his
ailing aunt, Johan inevitably develops an understanding towards her, drawn together by
their mutual love for Anna and sense of abandonment. The following day, still unable to
travel, Esther gives Johan a letter containing a list of helpful translations for their journey,
and she is left behind.
The Silence, Ingmar Bergman's final installment in his chamber series, is arguably the
most abstract and nihilistic film of the trilogy. As Winter Light explored spiritual
bankruptcy, The Silence is an examination of emotional isolation in a world without God
- where salvation lies in human connection. Figuratively, Esther has the linguistical
faculties to communicate, but physical frailty and fear of rejection prevent her from being
understood. Anna, on the other hand, seeks emotional intimacy through physical contact,
and is also, invariably, misunderstood. Thematically, Bergman conveys alienation
through geography, partitions, darkness, and non-confronting dialogue. The use of
mirrors further provides discontinuity, creating a sense of distance. Note the use of
Esther's mirror image in her "dialogue" with the hotel manager as she attempts to order
another bottle of liquor, emphasizing the language barrier. Another scene shows Esther
observing Anna's reflection from the adjoining room as she washes her face, suggesting
the fractured intimacy between them. After a prolonged, convulsive attack, Esther
implores God to allow her to die in her own homeland. In the end, she is left to die, alone
and suffering, in a strange land: unanswered prayers by an absent God.
Persona, 1966
Persona is arguably Ingmar Bergman's most challenging and experimental film. Elisabeth
Vogler (Liv Ullman) is an accomplished stage actress who, in the middle of performing
Elektra, ceases to speak. Sister Alma (Bibi Andersson), the young nurse assigned to care
for her, learns that there is nothing physically or even psychologically wrong with
Elisabeth - she has simply, consciously decided not to speak. Alma (the name, not
accidentally, is the Spanish word for soul) describes her initial impressions of Elisabeth
as gentle and childlike, but with strict eyes. She takes Elisabeth to the attending
physician's remote summer house to facilitate her recuperation. At first, the two seem
ideally suited: a talkative, candid, and inexperienced nurse, and a sophisticated,
enigmatic, and silent patient. They take long walks, bask in the sun, and read together. It
is obvious that their isolation has cultivated a sense of intimacy between them, albeit one-
sided. But it is a curious attachment. At first, Alma attempts to fill the void of Elisabeth's
silence. She talks incessantly about her life, unburdening her soul to the seemingly
attentive patient. But soon, it is obvious that Elisabeth's interest is more than mere
politeness or voyeuristic curiosity. She is, in fact, "willing" her identity - the facade she
created as Elisabeth Vogler - to the mentally weaker Alma. Elisabeth's struggle for
absolute transference - the proverbial battle for the soul - is a means of further divorcing
herself from the pain of her own existence. Persona is a provocative, highly cerebral, and
artistically complex depiction of human frailty, cruelty, and identity.
Bergman uses minimal composition and extremely tight close-ups to illustrate the theme
of psychological deconstruction. Note the prevalent use of single camera shots
throughout the duration of a scene. The lack of camera movement forces us to study the
characters' faces. Persona, after all, as the title suggests, is not about who the person
actually is, but the different identities, or facades, that the person projects. Figuratively,
Elisabeth Vogler, having played the role of celebrity, wife, and mother, has decided to
abandon her persona and walk off the stage. A variation on the idea of duality provides
an essential ingredient to the plot development. The themes of experience, children, and
romantic relationships take on very different meanings for the two women. Alma seems
to covet what Elisabeth has, but she has deliberately chosen other paths. Note the
monologue that is shown twice: one showing a close-up of Alma, and the other of
Elisabeth. It is a scene about regret, frustration, and denial. The effect illustrates how
different, and yet similar, these two women are... and how cruel and destructive the
human will can be.
Viskningar och rop, 1972

[Cries and Whispers]
Cries and Whispers is a powerful, richly textured exploration of the human soul. The
story is set on a remote country house, stripped from the distractions of the outside world
(the only "guest" is an attending physician). Agnes (Harriet Andersson) is a terminally ill
woman who is cared for by her two sisters: Karin (Ingrid Thulin), repressed and
domineering, and Maria (Liv Ullman), sensual and indecisive. However, her only source
of comfort is the devoted, nurturing maid, Anna (Kari Sylwan). As with other Bergman
films, most notably Autumn Sonata, the film is a heartbreaking portrait of pain and
regret, of things left unsaid and undone, until it is too late. Agnes's slow, agonizing death
is shattering, especially as she futilely struggles to reconcile the sisters, as her languid,
convulsive frame strains each breath. Unable to reunite her sisters, her tortured soul can
only grieve in incoherent gasps. Similar to Leo Tolstoy's The Death of Ivan Ilych, death
confers a profound revelation whose meaning escapes the survivors. Cries and Whispers
is a beautifully devastating story of isolation, communication, love, and death.
Ingmar Bergman resisted using color as a novelty. His use of color in the film is precise
and deliberate. Contrast the pale, muted landscape to the rich, deep colors inside the
house. The color red, featured prominently in the film (as in Krzysztof Kieslowski's Red)
is used to create a multifaceted visual theme. The effect is one of immersion: a soul
foundering in the corporal life blood, a stifling, forced intimacy arising from absence and
isolation, and a body slowly consumed by illness. Cries and Whispers is a remarkable
film of intoxicating beauty and extraordinary depth, a sublime work of art from a true
master.
Hostsonaten, 1978
[Autumn Sonata]
Autumn Sonata is a provocative, moving, and intensely honest film about the complexity
of familial relationships. Eva (Liv Ullman), a timid and reserved wife of a country
parson, invites her mother, Charlotte (Ingrid Bergman), to stay with her after a seven year
separation. Charlotte is a concert pianist, whose career has dictated prolonged separations
from her family. Having recently experienced the death of her husband, Charlotte is eager
to rekindle her relationship with her daughter. However, their congenial reunion is short-
lived, as Eva begins to confront her mother's alienated affection.
If the exquisite craftsmanship of the great Ingmar Bergman is insufficient reason to watch
this film, then consider the tour-de-force performances of Liv Ullman and the legendary
Ingrid Bergman. Note the understated power of a piano scene where the inhibited Eva,
longing for approbation, plays a Chopin prelude (I can see at least ten different
expressions on Ullman's face as she hits some clinkers during the piece, and equally as
many on Bergman's face as she tries not to betray the idea that she realizes how badly her
daughter is playing). Then, as Charlotte takes her confident place in front of the piano, a
revelation comes over Eva's countenance, as she finds the void of her mother's absence in
the animated keys of the piano.
It is impossible to describe the tenuous, emotionally charged scene that is at the heart of
this film. It is an exploration of guilt, regret, and pain. To trivialize this eviscerating
exchange as "wordy" (as I have seen in some misguided reviews) is unfair. It is a verbal
catharsis - the inevitable release of harbored frustration and anger - punctuated with the
hesitance of a daughter who deeply loves her mother, but sometimes cannot accept her
faults. The scene, and indeed the film itself, speaks volumes about the need for
acceptance and connection.
Bergman, as in Cries and Whispers, uses thematic colors that suffuse the film. In Autumn
Sonata, the color palette is appropriately fall: pale greens, pumpkin orange, muted
yellows, and earth tones. Note the colors of the parsonage, the wardrobe, and the season
in which the film takes place. The theme is especially suited to the story of a mother in
the twilight of her career ...and life (Ms. Bergman was battling cancer when the film was
made), seeking to find reconciliation and closure. It also creates an atmosphere that is
warm and inviting, a woman coming home at the end of her journey. It is, however, a
journey that has only begun.
Aus dem Leben der Marionetten, 1980

[From the Life of Marionettes]
In a garishly decorated basement room of a tawdry, erotic cabaret, amidst the ambient
pulsating, rhythmic drone of risqué music, an impassive prostitute nicknamed Ka (Rita
Russek) embraces a solemn and diffident client, Peter Egermann (Robert Atzorn),
caressing his face through the motions of sleep. The seemingly tender moment soon
inexplicably turns to aggression when Peter violently reaches for Ka's throat and begins
to choke her - a ferocious impulse that culminates with her brutal and unconscionable
murder and violation. The film then proceeds in black and white as Peter's psychiatrist,
Professor Mogens Jensen (Martin Benrath), is summoned to appear before the police
investigation board and provide a deposition on his encounter with Peter on the dawn
after the murder, prompted by the patient's cryptic early morning telephone call to his
private residence. Jensen reveals that Peter had sought treatment after being haunted by
dreams of murdering his loving, but unfaithful wife Katarina (Christine Buchegger).
However, the façade of Jensen's impartiality and professionalism is soon stripped away
when, after expediting the already suspicious Peter's departure with a trivialized excuse
for a subsequent patient appointment, he invites Katarina to his home office for a late
afternoon rendezvous. Gradually, the seemingly irreconcilable relationships in Peter's
tormented life are revealed through temporal fragments of inquiries and conversations
with his adulterous wife Katerina; her business partner Tim (Walter Schmidinger), an
insecure, aging homosexual who harbors an unrequited attraction towards the
melancholic Peter; and Peter's mother Cordelia Egermann (Lola Müthel), a renowned
actress who revels in her delusion of self-martyrdom after sacrificing her career for her
children.
Filmed during Ingmar Bergman's self-imposed exile in Germany after a protracted and
acrimonious dispute with Swedish authorities on charges of income tax evasion, From the
Life of Marionettes is a challenging, visually hypnotic, and atypically voluptuous film
that reflects Bergman's own personal struggle with alienation, estrangement, and
psychological duress. Bergman visually contrasts the color-saturated sequences of the
film's prologue and epilogue with the austere, high contrast black and white episodes that
encapsulate the chronicled activities of the characters before and after the murder. The
conflated, multi-perspective narrative structure of the interviews creates an
interconnected - and seemingly inescapable - sense of hermetic insularity that reflects
Peter's depression, ambivalence, and entrapment: Jensen's testimony on Peter's behavior
after the murder that illustrates Peter's discovery of his wife's emotional betrayal; Peter's
unsent letter to Jensen that alludes to his feelings of inadequacy through a sensual, yet
turbulent dream about Katarina; Tim's admission of his subversive manipulation of the
Egermanns relationship that reveals his own fears and desires. Interweaving reality and
illusion, consciousness and dreams, and past and present, From the Life of Marionettes
presents a provocative and haunting portrait of disconnection, repression, emotional
violence, and intimacy.
INGMAR BERGMAN
("Lost Childhood
The Darkness Before the Dawn:
"Why must we live?"
"We must live", says the pastor in Bergman's Winter Light to a man
contemplating suicide. "WHY must we live?" retorts the man. This
question occupies a central place in Bergman's art and life, as indeed it
should in the life of every human being. In answer to this question, the
pastor in Winter Light says nothing and lowers his eyes, indicating in this
way the impotence of faith to supply the answer to this most important
question. The insistence on asking such simple, yet disquieting questions,
which demand introspection and self-examination, is arguably the most
valuable quality of Bergman's filmmaking. The questions are on a child's
level - Why must we live? Who are we? Is there a God? - but as grown-ups
many believe that they have already found the answers to them. It is only
at the approach of death that such people begin to concern themselves once
more with these questions (this is stunningly portrayed in Cries and
Whispers, The Silence and Wild Strawberries.)
In The Hour of the Wolf there is a remarkable scene, in which a few

moments from Mozart's "Magic Flute" are depicted on the stage of a
miniature theater. The opera's main character, in the course of his quest,
finds himself engulfed in complete darkness and
cries out:
"Eternal night,
when willst thou flee?
When will mine eyes
The daylight see?"
After a moment of desperate silence, he receives

the answer from afar:
"Soon, soon . . . or never."
This passage seems today even more timely than

when Mozart wrote it two hundred years ago. For
eventhough the cloud of Darkness, which now engulfs our entire world,
has never been so thick, the opportunity to break through it to a New Life
is at this moment within reach of every human being - if only he would be
willing to grasp it!
Persona is a singular film. In the midst of her performance on stage, an

actress suddenly stops: stops talking, stops moving, stops her life. Perhaps,
it suddenly becomes clear to her that everything - this world, the art in it,
all the relationships and her own persona - everything is wrong. And
shouldn't such stopping of life be the norm for all of us? How can we go on
living, when we don't know who we really are underneath all these
outward designations (of actress, wife, mother, daughter, etc.)? How can
we simply accept this reality, when we have no idea what we are meant to
do here and what our true persona is? All of these questions seem to be
condensed into a single close-up of Liv Ullmann's face with the fading light
accompanied by the music of J.S. Bach.
Some of Bergman's best films are told from the perspective of a child: The
Magic Flute, The Silence, Fanny and Alexander. In The Magic Flute, one of
the most magical elements is the smile of a spectator-child (Bergman's
daughter) in the audience. And when, during the intermission part of the
opera, Bergman shows a singer studying the score of "Parsifal" and shoots
the cover of the score in a big close-up with the letters PARSIFAL filling
the entire screen - then it is clear that at that moment Bergman himself is
in a state of true childhood, a state of extraordinary intuitive perception as
yet unobstructed by the intellect. And in this state, he is able to intuit
something, which lies far beyond his present comprehension and which is
yet of the greatest importance to his spirit.
It is in his childhood that Bergman's best as well as his worst memories

dwell. Tormented by the aftermath of a tyrannical religious upbringing
(his father was a pastor), he makes the crisis of faith a central theme in a
series of unforgettable films: The Seventh Seal, Winter Light, Through a
Glass Darkly and Virgin Spring.
In Winter Light, he tears into the soul of the main character of a pastor
with a ferocity and perception born of true suffering. When the pastor
comes to recognize the real nature of his concept of God (an "Echo-God",
simply echoing the pastor's own beliefs and wishes), then this should hit
home for many a believer. And when the pastor, in the agony of self-
recognition, describes his own pathetic position of having to shield and
protect his carefully constructed image of God from the horrors of reality -
here Bergman is right ontarget in his observation of how humanity has
simply made a convenient idol out of God, imbuing it with qualities of their
own wishful thinking. It is no wonder then that such a man-made
contraption cannot stand up to the test of reality (unless it is artificially
propped up through self-delusion). The pastor's agonizing confession,
though, is not in vain: true, it has inwardly shattered him, but in the
process his idol of God is also shattered. The idol, to which he clung, no
longer obstructs his path. He is free to seek the true God, free to start on
his TruthQuest! Instead, he throws in the towel and declares that there is
no God - exactly as Bergman has done upon completion of this film,
declaring his relationship with God to be settled, never again making it the
principle subject for a film.
Since we've gotten onto the subject of confessions, a confession of another

famous individual comes to mind: "Confession" by Lev Tolstoy. The
following passage seems to parallel Bergman's inner state at the time he
finished Winter Light (and judging by his latest statements, even now):
"The mental state in which I then was seemed to me

summed up in the following: my life was a foolish
and wicked joke played upon me by I knew not
whom. Notwithstanding my rejection of the idea of a
Creator, that of a being who thus wickedly and
foolishly made a joke of me seemed to me the most
natural of all conclusions, and the one that threw the
most light upon my darkness. I instinctively
reasoned that this being, wherever he might be, was
one who was even then diverting himself at my
expense, as he watched me, after from thirty to forty
years of a life of study and development, of mental
and bodily growth, with all my powers matured, and
having reached the point at which life as a whole
should be best understood, standing like a fool with but one thing clear to
me - that there never was anything, and never will be. To him I must seem
ridiculous . . . ."
For Tolstoy, this state was just the beginning of his quest; for Bergman it
became the end.
Bergman greatly admired the work of the Russian director Andrei

Tarkovsky and said that Tarkovsky was able to enter and move freely in
rooms, which remained inaccesible to him (Bergman). The reason for this
is simple: Tarkovsky never abandoned his quest for a connection with
God, and greatness for any artist (as well as any human being) is
determined solely on the basis of this quest. (It goes without saying that
what mankind considers "great" is of no importance in Creation at large.)
With objective examination of cinema (and all art) a crystal-clear pattern
emerges: whenever an artist earnestly seeks a connection with God, he
produces great works of art; whenever an artist abandons this search, his
works become marked by triviality, narrowness of vision and, very often,
baseness.
"My whole life has been a meaningless search," declares the knight in The
Seventh Seal. He assumes that because his search has turned up nothing,
there is nothing to find. It doesn't seem to occur to him that there is
another possibility: he has been searching in the wrong way and/or in the
wrong places. "Seek and ye shall find," is not only a promise - it is, first of
all, a demand directed towards us: SEEK! Without that - nothing. If,
therefore, we end up with nothing at the end of our quest, then the only
logical conclusion is that our manner of seeking has been wrong and that
alone led us into a dead end. This natural conclusion, however, rarely
occurs to any of us; perhaps, because it requires personal courage and
severe self-examination. Not everyone is capable of or willing to summon
up these qualities at the right moment. One, who did, was Lev Tolstoy:
"I understood that I had erred, and how I had erred. . . .The mistake lay in
my having applied an answer which only concerned myself to life in
general. I had asked what my own life was, and the answer was: an evil
and a thing without meaning. Exactly so, my life was but a long indulgence
of my passions; it was a thing without meaning, an evil; and such an
answer, therefore, referred only to my own life, and not to human life in
general. . . .
This truth was always a truth, as 2x2=4, but I had not accepted it, because,
besides acknowledging 2x2=4, I would have had to acknowledge that I was
evil. It was of more importance to me to feel that I was good, more binding
on me, than to believe 2x2=4. I have grown to love good men, have grown
to hate myself, and I accepted truth. Now it was all clear to me. What if the
executioner, who passes his life in torturing and cutting off heads, or a
confirmed drunkard, or a madman, who had shut himself up for life in a
darkened room, who soiled that room and who believed that he would
perish if he left it - what if he had asked himself the question, What is life?
Obviously, he could get no other answer than - Life is a monstrous evil.
The answer would be a true one, but only for the man who gave it."
The character of the pastor in Winter Light comes to the conclusion that
God is silent - and it never dawns on him that it is he, who is silent to God's
call. It is he, who has rendered himself incapable of understanding the
Language of God, in which He continually speaks to every single one of us
every second of our existence. That is why, sooner or later, everyone must
come to recognize the need to seek the source, which will restore to us the
Knowledge of this Language. The Knowledge, whose verification is
anchored not in belief, but in the naturalness of life itself. The desperate
need for this kind of Knowledge is expressed magnificently by the knight
in his conversation with Death in The Seventh Seal:
Death: "What are you waiting for?"

Knight: "Knowledge."
Death: "You want a guarantee."
Knight: "Call it what you will. . . .
What will become of us, who want to believe but cannot? And what
of those, who neither will nor can believe? . . I want knowledge. Not
belief. Not surmise. But knowledge. I want God to put out His hand,
show His face, speak to me."
The Knowledge of the Language of God, in which He speaks to us, which

alone guarantees a living connection with Him and which enables a human
being to comprehend and to fulfill his mission in Creation - that
Knowledge is now here. It is contained in the remarkable book "In the
Light of Truth: the Grail Message" by Abd-ru-shin. But only those, who,
despite their disappointments, still carry within them a desperate yearning
for this Knowledge, will be able to grasp It and make use of It for a return
to life - like that knight in The Seventh Seal, who at the end still issued one
last desperate prayer:
"Out of our darkness we call to Thee.

O Lord! Oh, God, have mercy on us!
We are small and afraid and without knowledge."

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Ingmar Bergman

Larmar och gör sig till (1997) (TV)

Dokument Fanny och Alexander (1986)

Filmography as: Writer, Director, Actor, Producer, Miscellaneous Crew,

Larmar och gör sig till (1997) (TV)

Två saliga, De (1986) (TV)

Fårö-dokument 1979 (1979) (TV)

Filmography as: Writer, Director, Actor, Producer, Miscellaneous Crew,

Trollflöjten (1975) (TV) (uncredited) .... Audience

Passion, En (1969) (voice) (uncredited) .... Narrator

Kvinnodröm (1955) (uncredited) .... Man with poodle

Filmography as: Writer, Director, Actor, Producer, Miscellaneous Crew,

Min älskade (1979) (producer)

Persona (1966) (producer)

Filmography as: Writer, Director, Actor, Producer, Miscellaneous Crew,

Miscellaneous Crew - filmography

Ingrid (1984) (thanks)

Prästen i Uddarbo (1957) (script consultant) (uncredited)

Filmography as: Writer, Director, Actor, Producer, Miscellaneous Crew,

Filmography as: Writer, Director, Actor, Producer, Miscellaneous Crew,

Second Unit Director or Assistant Director - filmography

Ingmar Bergman: Om liv och arbete (1998) (TV) .... Himself

Dokument Fanny och Alexander (1986) .... Himself

A Look at Liv (1979) .... Himself

Fårödokument 1969 (1969) (TV) .... Reporter

Filmography as: Writer, Director, Actor, Producer, Miscellaneous Crew,

Passion of Anna: Disintegration of Passion (2004) (V) .... Himself

Married Else Fisher, 1943 (divorced 1945); daughter Lena.

Starts work at script department of Svensk Filmindustri. (January)

From The International Dictionary of Films and Filmmakers

Ingmar Bergman's unique international status as a filmmaker would seem assured on

After an initial period of derivative, melodramatic filmmaking largely concerned with

With Wild Strawberries, Bergman turned increasingly to psychological dilemmas and

Man-woman relationships are successively and uncompromisingly examined in a series

Bergman on Bergman (1968)

ART AND POLITICS

Bergman on Bergman (1968)

No other art-medium—neither painting nor poetry—can communicate the specific

Bergman on Bergman (1968)

Bergman on Bergman (1968)

Bergman on Bergman (1968)

Bergman on Bergman (1968)

Bergman on Bergman (1968)

Bergman on Bergman (1968)

LONG SHOT VS. CLOSE-UP

Long shot versus close-up arises out of an ambivalence in the director

Bergman on Bergman (1968)

Bergman on Bergman (1968)

Bergman on Bergman (1968)

The following is a complete chronological listing of theatrical films,as well as Swedish

An additional listing of alternateEnglish-language titles is also available.

The following is a chronological listing of the "major" theatrical productions on which

Premiere Title Playwright

The following is a chronological listing of the television productions on which Bergman

Date Title Bergman's Credits

The following is a chronological listing of the "major" radio productions on which

Date Title Bergman's Credits

Published Books, Scripts, and Articles by Ingmar Bergman

"Bergman on Victor Sjöström." Sight and Sound (Spring 1960).