Director Top Five: Ingmar Bergman

# films seen: 9
Top Priority
Summer with Monika (1953)
Smiles of a Summer Night (1955)
Through a Glass Darkly (1961)
Scenes from a Marriage (1973)
Autumn Sonata (1978)
Top Five
960 1943
1. Fanny and Alexander (1982)
2. Cries and Whispers (1972)
a Ingmar Bergman Jungfrukällan The Virgin Spring DVD Review PDVD_001
3. The Virgin Spring (1960)
4. Persona (1966)
5. Winter Light (1962)

12 responses to “Director Top Five: Ingmar Bergman

  1. “The Virgin Spring” has an odd place in the Bergman canon: my impression is that most enthusiasts think it’s 2nd tier, but it was mammothly popular (in art house terms!) and influential, so that in a curious sense it may be *underrated*. I find its tracking shots quite dazzling (suggestive of his earlier Summer Interlude), but I admit the last time I viewed it I wasn’t as swept-up in it as I anticipated.

    I really need to make a double-bill of Persona and Cries and Whispers– that would be formidable, don’t you think?! I fear that 70s Bergman may have become “unfashionable” for some people–I was mortified to find that Camille Paglia, in castigating the art house Gods (Antonioni, Fellini, etc.) for what she finds to be a precipitate drop in quality after the 60s, actually singled out Bergman as her worst offender, even accusing him of –gasp!– “sentimentality.”

    Well I love Paglia but I vehemently deny this charge. For me C&W, Scenes from a Marriage and esp. Fanny and Alexander are peak achievements– if I ever live to interview Paglia, I will cvertainly be violent on this point! . . .

  2. Just yesterday while talking to a friend who watched some Bergman recently, I came to realize that I have no intentions of rewatching his films in the next few months at least. I somehow got the impression (mainly when remembering what they are about) that I cannot get anything new out of his films and worldview. As if I had outgrown Bergman, cinematically and psychologically. Did this happen to others also?

  3. Bergman may have replaced Cassavetes as my favorite director. I find his films to be endlessly relatable and extremely intimate. I always point too Bibi Andersson’s monologue about her encounter with the boys on the beach in Persona, as an example of why I love Bergman so. It is the type of scene that makes you want to cover your eyes and ears and wait for it to end, but you can’t look away. There is so much beauty and pain in her vulnerability. There is the intrigue in that Bergman not only is revealing to the viewer the many layers of the character, but he is also developing more mystery.

    His films are always unfolding in my mind.

  4. Persona and Cries and Whispers would make a devastating double feature, I’m not sure if I could take it! The contrast between the very crip black and white and the aching colour would be interesting though…

    The purple monster is me!!!!

    I sometimes wonder if I outgrow certain films or filmmakers, or that because they came at the beginning of my film watching ‘career’ I see through the eyes of a novice. What if I had started with Kieslowski and end with Kubrick, would my opinions be reversed? I think I often lean towards my most recent viewings, and I think part of it is because I’m constantly evolving. When I look back at something and it’s dissapointing, I wonder if it’s me or the film… or what in me it is that’s changed.

  5. Very closely resembles my own list. What have you seen from the priority list? If you have yet to do Scenes from a marriage, I would suggest a double billing of Scenes and Saraband, as the latter is the sequel of the former and the last film he made. Gawd I have been negligent with my film watching. Also, I haven’t heard from you in a while – did you see what I did for you while in Paris??

  6. I haven’t seen any of the priority list! They’re my highest priority! I haven’t seen Saraband either, I’ll do my best.

    You were in Paris? And no I didn’t 😦

  7. I’ve always been quite partial to “The Hour of the Wolf,” with it’s claustrophobic interior shots. Wonderful scene where Von Sydow’s character demonstrates how long a minute truly is.

    Also, while not technically a Bergman flick, “Sunday’s Child” has one of the most chilling scenes when the ghost answers the question asked, “When will I die?”

    brrr, that part is lovely

Leave a Reply

Fill in your details below or click an icon to log in: Logo

You are commenting using your account. Log Out /  Change )

Google+ photo

You are commenting using your Google+ account. Log Out /  Change )

Twitter picture

You are commenting using your Twitter account. Log Out /  Change )

Facebook photo

You are commenting using your Facebook account. Log Out /  Change )


Connecting to %s