By Robin Wood

ISBN-10: 0814333605

ISBN-13: 9780814333600

At a time whilst few reviewers and critics have been taking the research of movie heavily, Robin wooden published a cautious and carefully cinematic remark on Ingmar Bergman s movies that confirmed the possibility of movie research in a nascent scholarly box. the unique Ingmar Bergman inspired a iteration of movie students and cineastes after its book in 1969 and continues to be the most vital volumes at the director. This new version of Ingmar Bergman, edited via movie pupil Barry Keith provide, includes all of wooden s unique textual content plus 4 later items at the director by means of wooden that have been meant for a brand new quantity that was once now not accomplished earlier than wooden s demise in 2010.

In interpreting a range of Bergman s movies, wooden makes a compelling case for the good judgment of the filmmaker s improvement whereas nonetheless respecting and indicating the individuality of his person movies. wooden s emphasis on questions of price (What makes a piece very important? How does it tackle our lives?) proficient his complete occupation and function the root for lots of of those chapters. within the further fabric for this new version, wooden considers 3 very important movies Bergman made after the e-book was once first released Cries and Whispers, Fanny and Alexander, and From the lifetime of the Marionettes and likewise comprises major reassessment of personality. those items provocatively recommend the extra political instructions wooden may need taken had he been capable of produce Ingmar Bergman Revisited, as he had deliberate to do earlier than his death.

In its day, Ingmar Bergman used to be some of the most vital volumes at the Swedish director released in English, and it continues to be compelling this present day regardless of the multitude of books to seem at the director on account that. movie students and lovers of Bergman s paintings will get pleasure from this up to date volume.

Published via Wayne nation collage Press.

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Sample text

Bibi Andersson in Persona is no longer the Bibi Andersson of The Seventh Seal, Wild Strawberries, The Face, and The Devil’s Eye; the Ingrid Thulin of Hour of the Wolf is scarcely recognizable as the actress from Winter Light and The Silence. Now About These Women, partly a Bergman testament-movie in which he clearly tried to reunite as many of his actresses as possible, is obviously a special case and as such does not constitute a genuine exception. The case of So Close to Life is more complicated.

Christianity at its vaguest, most complacent, and insensitive: one waits for it to be firmly put in its place, but waits in vain. Jan-Erik is bucked up no end, takes the money the headmaster leaves for him, and, with a smile on his face and Bertha’s cat under his coat, goes out to return to Life, in the shape of a suddenly sunny skyline and some modern blocks of flats. The emotional balance of the film is gravely upset. Certainly we never for a moment question the rightness of Jan-Erik’s total rejection of Caligula, but the emotions aroused by our glimpse of his private hell of misery and isolation are not to be overruled by the shallow optimism of the last shots.

Sense of the time of year and time of day (consider the scene of Marie’s awakening and early morning fishing, her second meeting with Henrik); images of natural fertility counterpointing the development of the relationship (the wild strawberry scene). Bergman uses nature to express the natural processes of life and death, the theme of transience so dear to the romantic poets (and the Keats of the narrative poems and the odes is not so very far away from the “feel” of Summer Interlude). The film’s poignant emotional effect arises largely from the antithesis of summer and autumn (felt as actual concrete presences) in the counterpointing of flashbacks and present time.

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Ingmar Bergman by Robin Wood


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