The works of Swedish film and stage director Ingmar Bergman (born 1918) are marked by intellectuality, metaphysical speculation, and symbolic and allegorical content. Ingmar Bergman was born on July 14, 1918, in Uppsala, Sweden, the son of a Lutheran...

Ingmar Bergman, Swedish author and movie and theater director, is one of the foremost contributors to postwar European cinema and a leading stage interpreter of such playwrights as William Shakespeare, Molière, Henrik Ibsen, and August...

Swedish director Ingmar Bergman's name is virtually synonymous with the sort of intellectual European films that most critics love to praise—but that many moviegoers love to hate. His complex explorations of sweeping topics like...

Ingmar Bergman (pronounced [ˈɪŋmar ˈbærjman] (help·info)) (July 14 1918 – July 30 2007) was a Swedish film, stage, and opera director. He found bleakness and despair as well as comedy and hope in his explorations of the human condition. He is...

IN 2002, INGMAR BERGMAN donated his private archive to what would become the Ingmar Bergman Foundation. The archive, comprising of drafts, journals, hand-written manuscripts and much more, is currently being catalogued and soon this extraordinary collection will be open to scholars. Although access is...

In the shadow of Ingmar Bergman A new generation of Swedish filmmakers tries to find its voice In THE FALL OF 2004, INGMAR BERGMAN'S FILM Saraband OPENED TO a generally favourable response. This was quite a remarkable event, not only because the...

A few dozen family and friends of Ingmar Bergman attended his funeral Saturday on the small Swedish island where he spent his final years _ a low-key affair in keeping with the legendary filmmaker's wishes.Bergman was 89 when he died July 30 at his home...

Ingmar Bergman wanted his funeral to be a low-key, private affair and his family, friends and neighbors are doing their utmost to keep it that way.Bergman died last week at age 89. Since then, his family has said only that there will be a small,...

It must never be overlooked that Bergman is as persistent a showman as he is a moralist. He is of the theatre, and while I should not want to declare that the one talent is all comic and the other—a preoccupation rather than a talent?—is altogether morose, I would suggest that there is a conflict between the two tendencies, between his desire to entertain and his instinct to preach, and that his masterpieces arise when the tendencies are virtually inseparable, when neither dominates the other,...

More than any other film artist, Bergman's work is rooted in the past. His early films grew out of the culture that surrounded them and they were invariably concerned with traditional themes. [Prison, Thirst, and To Joy], all released in 1949, were each in its own way a kind of allegory, a journey through defeat and despair towards some kind of hopefulness at the end. (p. 135) [In] his early work, one was struck especially by Bergman's imagery, by a recurring pattern of images that seemed to h...

Prison is a turgid, tedious film finally invalidated by the tendency to inflate a personal neurosis into a Vision of Life. Its explicit thesis is that life on earth is already Hell, that the devil rules. But all one could deduce from the evidence it presents is that some people are very nasty and some others very ineffectual. (p. 29) The chief contribution [Port of Call] makes is the extension of Bergman's antipathy to parental figures to include the social authorities, presented with consistent host...