Ingmar Bergman has died
That hooded, black-robed figure with the stern expression and almost Kabuki-white face paid a visit to Ingmar Bergman‘s home on the island of Faro last weekend (or certainly within the last few days). I like to think he would have been polite about it and knocked on the front door, but one way or the other he sat by the bed and took the one of the four or five greatest film directors of the 20th Century by the hand, and that was more or less that — a final transition and fade to black.
The man was a genius, a God…a deliverer of pure, chilly clarity in a muddled and equivocating world. His work was astounding, penetrating, devastating. Ingmar Bergman made me feel better about being an occasional misanthrope and down- head and a sometime depressive than any other artist I’ve ever encountered. And when they were in the mood, Bergman and his cinematographer Sven Nykvist had no equals at conveying subtle but heated eroticism.
The slightly discomforting thought is that Bergman’s greatest films (the ones he made from the mid ’50s to mid ’70s) and in fact the very idea of Bergman himself — a filmmaker whose material often came from the deepest gloom-pits of his soul, who didn’t fill a room with light as much as focus on an intimate, small-room situ- ation with a kind of blue-flame intensity, and who adhered to a visual language that was often somber and austere — has been regarded as a yesteryear thing for a long time now.
I wonder how many under-35s have even seen a Bergman film. The Bergman art- house aesthetic of the ’50s and ’60s is about as far from the Tarantino film-geek attitude as you can get. Film Snob Dictionary authors Martin Kamp and Law- rence Levi wrote a couple of years ago that “watching a Bergman film is so PBS tote-bag, so Mom-and-Dad-on-a-date-in-college, so baguettes-and-Chardonnay.”
Jett, 19, knows who Bergman is (he first heard his name and rep in that passage from Manhattan when Diane Keaton‘s character calls him over-rated) but he’s never seen a single one of his films. I’m going to try and persuade him to sit down and watch a Criterion DVD of The Silence or Through a Glass Darkly or Shame sometime later this week.
Another gut-punch of a loss.
And no, JW, people under 35 (I work with many of them) have not even heard of Bergman, much less seen any of his masterworks.
I pulled out the Criterion set of the God Trilogy just last week and it has been staring at me from the to-watch pile since then. Now I know why.
He is the Scandinavian film god. Von Trier or even Dreyer simply can not compare. The only thing I would like to point out, Jeff, is that by saying he made his best work between the mid fifties and the mif seventies that leaves out Fanny And Alexander, one of my top five cinema experiences. I went alone, had to take a boat to a small swedish island and saw it in a cinema run by an elderly couple who had kept it in the style of Bergmans childhood, from the food to the seats. They screened the long version, I think it was between four and five hours long, and it was mesmerizing. To me that film is his ultimate accomplishment, as great as a lot of his other movies are as well.
Summer with Monica, Sawdust and Tinsel, Smiles of a Summer Night, Wild Strawberries, Persona, Shame, Cries and Whispers, Scenes from a Marriage, and Fanny and Alexander are all masterpieces or near masterpieces. Never cared for Seventh Seal. Once he decided that male-female relationships were far more important than God, he really got going. Even though he had problems with women in real life, no male artist other than Henry James has ever understood women better. And his films are truly cinematic, thanks in no small part to the cinematography of Gunnar Fischer and Sven Nykvist. Even the lesser early films have luminous black-and-white cinematography. Finally, the best acting in the history of cinema occurs in Bergman’s films. He certainly knew how to draw depths of subtle emotion from his actors. And why have Max von Sydow and Liv Ullmann never been given special Oscars?
Uhm, I just made a confusing post twice, but I would like to say that I am twenty seven years old and I do not think I have met anyone who is even remotely interested in film who have not heard of Bergman. Maybe because he is a local cultural treasure here, but I lived in France for a couple of years and he was highly revered there as well. He is up there with Ibsen as a famous cultural figure, so hopefully America will now re-open their eyes to the films. Anyway, there are about a dozen shows, documentaries and movies celebrating his life on TV tonight, so I will re-familiarize myself with some great work as well.
I’m under 35, and I’ve seen Seventh Seal. I think that’s it, so far.
I once met Bergman when he was living in Munich Unfortunately, I was only about 9 years old.
To be fair to the Film Snob guys, I don’t think they’re actually advocating this viewpoint. There’s some irony involved, and they do use the phrase “reverse snobbery.” Still, the point — that many younger hipster filmgoers feel this way — is a valid one. I think it’s actually an excuse to get out of the “work” that’s required to appreciate something that isn’t immediately viscerally gratifying. (The real irony is that Bergman’s work can be a real gut-punch, if you give it a chance.)
“I’m going to try and persuade him to sit down and watch a Criterion DVD of The Silence or Through a Glass Darkly or Shame sometime later this week.”
I’d start with The Seventh Seal, which is pretty accessible. You can lure him in with the sword-wielding knight and spooky, hooded death figure. Shame does have some spectacular war footage in its favor. Show him the typically misleading trailer on the DVD, which shows all the “action.”
RIP and thanks, Herr Bergman.*
Disclaimer temporarily suspended for this posting.
*somebody go ahead and tell me he wasn’t German, so I can call you a syphillitic troglodyde double-dog douche.
I fall into the under 35 category. I just did a quick poll of my co-workers. “Who? Oh, I thought SHE was already dead.”
“Fire up a colortini, sit back, relax, and watch the pictures, now, as they fly through the air.” Tom Snyder used to say…. it was a trio this weekend … Snyder, Ingmar Bergman (a poster for The Silence is hanging on my wall) and Marvin Zindler (a houston tv personality who was the dom de luise character in best little whorehouse) … of course nobody compares to Ingmar … Wild Strawberries and Seventh Seal are playing theatrically at the local museum here in houston on Aug 17-19
Actually, I was kind of impressed that a fair number of commenters at AICN actually seem to have seen something of his work. Tough, what with keeping up with Andy Milligan and Jess Franco releases on DVD and all…
I’d suggest this or that film first– Wild Strawberries or Fanny and Alexander– but you know, you really need to see ten or twelve of them to understand how filmmaking was a process for him of digging through his psyche, and you need some immersion in the culture he came from and represented… I’m not saying you need to go live in a Swedish monastery but I find it hard to watch one Bergman film in isolation, or to identify this or that as his masterpiece and say that you can watch it and “get” him. The insights will often come out of films that are less successful overall, and the less successful films (The Silence) are nevertheless necessary to the greater ones (Persona). I guess I’m saying it’s a body of work, a great one, and experiencing and understanding it means wading into it fairly deeply– you can’t just look at them as standalone high concept pieces (“The Silence– lesbians meet God’s absence!”).
Great loss, etc.
The thing is, the reason you won’t find a plethora of under-35′s intimately familiar with Bergman (though 9 times out of 10 if you show them “Seventh Seal” they’ll light up within ten minutes and go “Oh! THAT’S where that’s from!”) is because there’s been little in the way of a concerted effort to KEEP him relevant. His films are in that weird nexus where they’re not-mainstream-enough to be cable mainstays and too-”traditional” to still be a hipster thing.
MAGGA, you are one lucky person to have such an awesome experience like that. You just described what would be a dream vacation for me.
He may be one of the top 4 Directors of the 20th century (and probably still top ten if you include the 21st century!) but is there any question that Bergman’s the greatest SCREENWRITER of all time? I mean, can we just go ahead and say it outright? It’s not even close, is it?
I’m 32 and it took me a while to get to him (outside of film class), knowing how SERIOUS he is. I’m not sure these films are really for people in their twenties anyway. They’re truly for adults, which is fine. In fact it’s great.
If you live in NY, you’ll probably get a Bergman retrospective. How about Edward Yang? I believe info is forming about Yang’s work being shown in LA later this year as part of two other things.
I just did a quick poll around the office and only 3 of 24 could name one of his films, and no one could name two. Sadly, I must work with these people on a daily basis. However, I am making the DVDs available for them to take home this week, so hopefully some good will come of this.
His kind of artistry is sorely missed. Godspeed Master.
I could sneer at people who don’t know Bergman, but then I’d have to admit I put him off for years myself. He seemed like a slog. A punishing bore. Medicine.
It was one of the great joys of my movie-going life to discover he was none of those things.
‘Even though he had problems with women in real life, no male artist other than Henry James has ever understood women better.
–T.S. Idiot’
Just out of curiosity, T.S., are you female?
I’m 33 and I’ve seen 20-odd of his movies. I saw Wild Strawberries when I was 19. I didn’t really get it then, but I knew it was good.
I watched Altman’s “The Praire Home Companion” last night, and to take a line from the film that is relevant today……”An old man dying is never a tragedy.”
It’s a damn shame that we have to endure a summer of Evan Almightys and Shrek 3s when Bergman has shown us that film can be, and should be, so much more than turning off your brain for 85 minutes.
In the 1950s and ’60s the hip, square-glasses hipsters would gawk at Bergman and Truffaut. Now it’s Robert Rodriguez and Zack Snyder.
I haven’t seen any Bergman films, but I am very aware of the name and instantly recognize him as on of The Masters. I guess you could say I was saving Bergman for old age, I was concentrating my current film watching schedule on Italian stuff from the 50′s and 60′s.
Now is as good a time as any to start going through Bergman’s work. What would be the best starting point? I’m thinking of starting with Scenes from a Marriage, which I read about in one of Ebert’s books.
Keep your eyes peeled on TCM over the next couple of weeks. To my great surprise and delight, TCM showed a retrospective of Bergman’s work about three months ago that included The Seventh Seal. So they have the rights to show his work and they usually do tributes when a major figure in film has died recently.
For those in LA, if the New Beverly stays open past Tuesday, they’ve got Wild Strawberries and Virgin Spring on the Calendar for 8/1 and 8/2.
http://www.newbevcinema.com/calendar.cfm
most of bergman’s films are fairly accessible.
SCENES FROM A MARRIAGE is pretty amazing.
and he just might be the greatest screenwriter.
A giant has passed, we will not see his like again for some time.
I’m under 35, and I’ve seen Seventh Seal, Persona, Wild Strawberries, and (my favorite) Fanny & Alexander.
But I do think I’m the exception… most under-35 year olds have no idea who Bergman was.
What a great loss.
I posted this on my blog, but I thought Jeff would not mind if I repeated here:
Roger Corman never tired of describing how, in the 1970s, he turned a tidy profit when his New World Pictures released Bergman’s Cries and Whispers.
Regarding the latter: Corman recalled in his 1990 autobiography: “We were the first to get Bergman into drive-ins, the first to book him into multiple cinemas in the same city… The film took in $1.5 million in rentals, or a profit of close to $1 million… When I finally met Bergman years later, he mentioned that he thought it was great that we put his film in the drive-ins. ‘Nobody ever thought of that before,’ he said. ‘I’ve always wanted my pictures to get the widest possible audience. That’s an audience that never saw my pictures before New World.’”
I have a double sort of reaction to this news of Bergman’s death. I teach Humanities, and I show parts of either Wild Strawberries or The Seventh Seal to the class when we discuss film. The problem is that about 3/4 of the students look at it as I “made” them watch that (they say the same about Fellini), but I always have 2-3 that are simply mesmerized by the films. Especially The Seventh Seal. So I am sad that the news is here and more aren’t aware of Bergman, but I also had a student this morning literally say, “Oh, I thought she was dead already,” and this student is over 40!
I don’t really feel it is age at all that contributes to this lack of knowledge. My 18-25 year old students have no idea about directors like Bergman, but niether do the 35+ crowd because they spend most of their time and money watching what their small kids or teenagers watch. It is sad when I only have 2-3 students that can get passed the double whammy of “black and white” AND “subtitles”! Their words, not mine.
Not to mention it would blow many a pre and post 35 year old’s mind to know that THE VIRGIN SPRING was remade as LAST HOUSE ON THE LEFT (itself to be remade). Bergman really pioneered so much astonishing visual poetry and “horror” imagery in his films that I think a lot of people who haven’t seen his work would be surprised at how much they’d enjoy it.
Betraying my film school backgound here; back in the day my twisted genius of a Film Theory teacher said we were watching a Bergman film and then unspooled the notorious spoof short THE DOVE, before segueing into THE SEVENTH SEAL.
No, his passing is not a tragedy, but it’s an occasion to note the passing of that rigorous approach to the medium as art. I did a graduate program at NYU in film and didn’t see a single Bergman film as part of the official curriculum.
I’m 28 and have seen probably 15 of his films. I’d put a few – Smiles of a Summer Night, The Seventh Seal, Through a Glass Darkly, Persona, Wild Strawberries, Scenes from a Marriage, and Fanny and Alexander up against anything, and offhand, I can’t think of any filmmaker, ever, who can claim that many truly great movies. He’s a monumental artist.
Bummer.
And not a single mention of HOUR OF THE WOLF? One of my very favorite horror films.
iamanerd, I agree. I don’t think age matters here… most Americans under 35 have not heard of Bergman, and most over 35 haven’t either. Wells just wanted to make sure he had taken a swipe at someone, and in this case, he picked the youngsters.
Bergman is one of those directors I’ve heard of, but haven’t seen. I picked up Wild Strawberries from the library, so that will change soon.
It’s not that age is the only factor, though. My impression is that Bergman was never popular outside the “film snob” circle. Death has a way of causing people to rediscover the work of the deceased, though. Perhaps Bergman’s films will be rediscovered like Fellini and Kurosawa’s? Which reminds me, I haven’t seen any Fellini films, either. That’s the 35 and under crowd for you…
What is the difference between an American under 35 and a joghurt?
Back in 1968, when the world was a much different place, the public television station in Pittsburgh showed all of Bergman from Frenzy through The Silence in chronological order, appropriately on Monday nights, the gloomiest night of the week. I had seen only one or two before this experience, and seeing these over a few months convinced me that Bergman was the man.
One of my most pleasurable filmgoing experiences occurred ten years later when I saw an obviously ill Ingrid Bergman at a Modern Language Association panel on her pal Eugene O’Neill. Unlike a clearly bored Geraldine Fitzgerald, Ingrid sat there drinking in all the dry comments delivered by three academics reading their papers and then delighted the audience by pointing out errors in one professor’s comments about O’Neill’s life in California. A few hours later, my wife and I saw Autumn Sonata, in which this witty, classy, compassionate woman plays a monster. The strength of her performance, perhaps the best of her career, owes a lot, of course, to Uncle Ingmar who, in this portrait of a manipulative, unfeeling artist, is offering us yet more insight into his psyche and autobiography.
woody allen mourns today also.
I’ll admit that I’m 21 and I’ve never seen a movie of his, although I’ve certainly heard of him. To be honest, the thing that first came to my mind was “Oh, he’s the guy that Woody Allen really liked”, which I think may have been what a lot of serious film fans in my generation would have thought.
To my generation, Bergman holds a kind of mystique where we know that he’s highly influential but we aren’t in a huge rush to rent his flicks.
I’m just being totally honest here. There’s always been a kind of percieved stuffiness about his movies, whether deserved or not, that has kept me from diving in. A couple times people my age have made an obvious attempt to pump themselves up by saying “So, I watched a Bergman film last night…It was simply wonderful.” And it’s this kind of attitude, which is born not from a genuine love of the art, but rather the love of self, that unfortunately temporarily turns me off to something.
Yet I think at this point my curiosity is peaked, so I’d like to take suggestions for a first movie to watch… Right now, based on what I’ve read, I’m kind of leaning towards Scenes From A Marriage.
I wouldn’t recommend Scenes from a Marriage as an initiation to Bergman. Don’t get me wrong, I think it’s a major, major work – but it was of the period when he was working for televsion, and had pulled back his visual style and aesthetic experimentation in favor of a more theatrical style – long, single location, real time scenes that emphasize writing and performance. Of course, he’s one of the greatest writers in the medium and he gets stunning performances…but I think the fullest flowering of what he’s about as an artist is either Wild Strawberries or Fanny and Alexander.
That said, Smiles of a Summer Night and The Seventh Seal would both be good starting points as well. And I can’t really recommend against seeing Scenes from a Marriage – the first time I watched it was such a wrenching experience.
I’d say it almost doesn’t matter where you start, just start. You might find they’re not as stuffy and intimidating as you think. And don’t stop with just one.
You could do worse than just picking the ones Criterion Collection has and going chronologically. Or pick one that you feel you have some kind of connection to, either through a Woody Allen movie or because something about it is familiar. Pick Virgin Spring because of Last House on the Left. Hell, you could even pick Seventh Seal just because of Bill & Ted.
Jeff, thanks, you earned your pay today, reminding your readers of the difference between butter and margarine. Ingmar was just about the best butter on the shelf. lots of margarine out these days, making billions. that’s showbiz.
On the other hand, lots of masterpieces from Ingmar, too many to pick one, but, here’s my suggestion:
Watch HOUR OF THE WOLF and if you don’t get it, you don’t get it.
Shows how much I know. I always thought Bergman was one of the most famous directors in the world, as he is such a major figure up here in the north, and I had no idea that Ingrid Bergman was still more well known and that no young people knew him etc. To Scandinavians he represents everything filmmakers aspire to accomplish, and in every film class I have been to he has been the dominant figure in what we were taught. Not that any of that matters. What I would like to add here is that Bergman could be really funny when he wanted to. Like laugh-out-loud funny. The party scenes in Fanny And Alexander come to mind, but even the scenes with the reaper in The Seventh Seal (and I do not know if this comes across when watched with subtitles) have a very dry humour to them. Anyway, on Swedish TV, which we get here in Norway, they have cancelled regular programming and extended news broadcasts, screened documentaries and movies, and will apparently do so for the next few weeks, so in that regard he was an even bigger figure than I had imagined. Feels strange that he is gone, but he was an old man so it had to happen.
MAGGA, the humor comes across even with subtitles, or at least some of it does. I was pleasantly surprised by it.
Doesn’t matter so much what you watch, but make an effort to watch 3 or 4 of them over the next month or so. It will be a much richer experience than watching one and saying “So that’s what it was?”
PhilContrino, there are two films I’d recommend you start with.
“Fanny & Alexander” is one of his most accessible films (and in my opinion, his best), although it does clock in at 3 hours.
“The Seventh Seal,” on the other hand, is short, iconic, but the Criterion DVD I watched had some of the worst subtitles I’ve ever seen.
“Wild Strawberries” is very good too. I would wait on “Persona” until you’ve seen the others.
I’m in my early 20′s and I’ve seen a lot of Bergmans’s work. But then, I’m Swedish, so perhaps I don’t count?
Hej MAGGA!
I just watched the documentary on SVT and I see they’re showing Smultronst√É∆í√Ǭ§llet (Wild Strawberries) right now. I agree with you about there being quite a bit of humour in some of Bergman’s work. But I think some of it gets lost in translation as well. A film like Sommarnattens Leende(Smile’s of a Summer Night-a great little comedy) or Fanny och Alexander just wouldn’t be the same if you aren’t familiar with it’s cultural context and language(particularly with Bergman being such a great writer).
I just heard that they’ll be showing Bergman films on SVT throughout the week. I can’t wait.
Hälsningar från Sverige!
If you’re going to watch either Fanny and Alexander or Scenes from a Marriage, I highly recommend watching the full 5+ hour versions.
They were made to be TV miniseries, and I think they’re best seen that way in their full versions.
Indeed, the “PBS tote-bag” bit from the “Film Snob” site does not represent the perspective of Levi and David Kamp; it’s a characterization of their strawman film snob’s view, as Levi pointed out to me when I took a swipe at him on his blog using only Wells’ citation as ammunition. Damn you, Wells! (Just kidding. But next time I quote you quoting someone else, I’m gonna double check.)
Actually, I was kind of impressed that a fair number of commenters at AICN actually seem to have seen something of his work. Tough, what with keeping up with Andy Milligan and Jess Franco releases on DVD and all…
I’d suggest this or that film first– Wild Strawberries or Fanny and Alexander– but you know, you really need to see ten or twelve of them to understand how filmmaking was a process for him of digging through his psyche, and you need some immersion in the culture he came from and represented… I’m not saying you need to go live in a Swedish monastery but I find it hard to watch one Bergman film in isolation, or to identify this or that as his masterpiece and say that you can watch it and “get” him. The insights will often come out of films that are less successful overall, and the less successful films (The Silence) are nevertheless necessary to the greater ones (Persona). I guess I’m saying it’s a body of work, a great one, and experiencing and understanding it means wading into it fairly deeply– you can’t just look at them as standalone high concept pieces (“The Silence– lesbians meet God’s absence!”).
I could sneer at people who don’t know Bergman, but then I’d have to admit I put him off for years myself. He seemed like a slog. A punishing bore. Medicine.
It was one of the great joys of my movie-going life to discover he was none of those things.
I’m under 35 and I’m familiar with Bergman’s work if only filtered through film and pop culture. I’ve been meaning to rent 7th Seal, but there so many canonical films by so many dead or dying directors, the list of which keeps growing. That said, I’ll pick up some Bergman next time I’m at the video store for sure.
For those in LA, if the New Beverly stays open past Tuesday, they’ve got Wild Strawberries and Virgin Spring on the Calendar for 8/1 and 8/2.
http://www.newbevcinema.com/calendar.cfm
I’m 19 and I’ve seen four of his films, which is pretty good comparatively with my age group it seems. I’ve seen Scenes From A Marriage, Cries and Whispers, Persona, and The Seventh Seal.
It’s been a helluva long time since the last Ingmar Bergman film I’ve seen. I think “Through a Glass Darkly” was my last one, which I watched back when I was 17. I’d say it’s neck-and-neck for me between “Wild Strawberries” and “The Seventh Seal,” though I haven’t seen “Persona” or “Fanny and Alexander” yet. “Seventh Seal” is still regarded as his masterpiece, correct?
As for the widespread belittling of everyone under 35, please… just stop. I’ve known plenty of high school aged guys and girls who’ve seen films by not only Ingmar Bergman but Jacques Tati and Kieslowski. You seem to forget that Criterion is around, as is YouTube (yes, you can actually watch something like “Man With A Movie Camera” in full via YouTube or Google Video). It’s a preposterous argument to make and I’d much rather hear more blanket statements about the Iraq War than something as broad and ludicrous as this.
** Also, the name Ingmar Bergman is very often confused with INGRID Bergman. That’s probably what your coworker thought you said.
Earlier in the year I had Fanny & Alexander out of the library, but life was too busy to watch it at the time.
I did watch Seventh Seal and Wild Strawberries earlier this year. Loved both of them.
Up until I had, Bergman was a director I had known of, but never did get around to watching. I’d like to see more of his stuff. Definitely a beautiful voice in film.
Rest in peace.
(and ya, I’m under 35)
I’d say it almost doesn’t matter where you start, just start. You might find they’re not as stuffy and intimidating as you think. And don’t stop with just one.
You could do worse than just picking the ones Criterion Collection has and going chronologically. Or pick one that you feel you have some kind of connection to, either through a Woody Allen movie or because something about it is familiar. Pick Virgin Spring because of Last House on the Left. Hell, you could even pick Seventh Seal just because of Bill & Ted.
Slate’s writing on the arts is too often glib and insidery, but this Bergman summation is first rate:
http://www.slate.com/id/2171375/
I assume everyone here has seen Whispers of the Wolf?
Disclaimer: the above comments are not intended to be construed as a personal attack on any persons, places or institutions.
MAGGA, the humor comes across even with subtitles, or at least some of it does. I was pleasantly surprised by it.
Doesn’t matter so much what you watch, but make an effort to watch 3 or 4 of them over the next month or so. It will be a much richer experience than watching one and saying “So that’s what it was?”
I’m 16, and Persona is my favorite film, and the greatest one I have ever seen.
I’m 39 years old, and I’ve seen 17 of Bergman’s films. Although he did do the occasional clunker (I would not willingly sit through THE SERPENT’S EGG again, although to be fair, it was done in English, which he clearly wasn’t comfortable with), and I find THROUGH A GLASS DARKLY, SMILES OF A SUMMER NIGHT, and WILD STRAWBERRIES somewhat overrated, most of the films of his I’ve seen are either masterpieces (SEVENTH SEAL, SHAME, CRIES AND WHISPERS, SCENES FROM A MARRIAGE, as well as its sequel SARABAND, FANNY & ALEXANDER, and my personal fave, PERSONA), or pretty damn close (VIRGIN SPRING, WINTER LIGHT, THE SILENCE, THE PASSION OF ANNA, AUTUMN SONATA, FROM THE LIVES OF THE MARIONETTES). They may be weighted with heavy themes, and be full of symolism (which may be why people like Steve Guttenberg’s character in DINER are immediately lost when watching something like THE SEVENTH SEAL), but they are alive to the nuances of everyday life as well. THE SEVENTH SEAL, for example, may be best known for the chess game between the Knight and Death, but all the scenes with the circus performers are far more light on their feet than the film’s reputation would suggest. And while others have mentioned how THE SEVENTH SEAL lives on through the parodies it inspired (not just Bill & Ted, but also the Animaniacs “Meatballs & Consequences,” THE LAST ACTION HERO, and Woody Allen’s play “Death Knocks,” to name but a few), and also how VIRGIN SPRING inspired LAST HOUSE ON THE LEFT, among other revenge fantasies (without Bergman’s moral sense), but I’d also like to add David Lynch films like MULHOLLAND DRIVE and INLAND EMPIRE would not exist without PERSONA. Bergman will definitely be missed.
York: “And no, JW, people under 35 (I work with many of them) have not even heard of Bergman, much less seen any of his masterworks.”
That’s not entirely fair. Someone my age must have seen the references to his work in Bill and Ted 2. Plus the re-release of Monty Python and the Holy Grail had nifty commercials which mentioned him.
Earlier in the year I had Fanny & Alexander out of the library, but life was too busy to watch it at the time.
I did watch Seventh Seal and Wild Strawberries earlier this year. Loved both of them.
Up until I had, Bergman was a director I had known of, but never did get around to watching. I’d like to see more of his stuff. Definitely a beautiful voice in film.
Rest in peace.
(and ya, I’m under 35)
Bergman is the best; he is truly a master. He squares up to the reality of the human condition like no one in the history of film, or perhaps even theater as well.
I started with The Seventh Seal, but Wild Strawberries made a great impression on me, and from then on it was every available Bergman DVD from Netflix. You almost can’t go wrong; it’s worth pointing out that within the last five years he made a beautiful cinematic coda in Saraband, which easily beat even the hippest indie film around as far as writing and insight.
I was actually thinking of writing a letter to him on Faro just thanking him.
Slate’s writing on the arts is too often glib and insidery, but this Bergman summation is first rate:
http://www.slate.com/id/2171375/
This would be a good time for DZ to mention that Bergman was a hack who ripped off Mozart and Strindberg.
Watched Wild Strawberries tonight, hadn’t seen in maybe 15 years. What beautiful simplicity. This is all a movie need be.
Watched Wild Strawberries tonight, hadn’t seen in maybe 15 years. What beautiful simplicity. This is all a movie need be.
sherman, kovacs, bergman, antonioni…
it’s like the great film generation passing on…
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