ingmar_bergman_ ingmar_bergman_

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Ingmar Bergman  Director, writer and the producer who worked in film, television , and theatre. Born : July 14, 1918, Uppsala, Sweden Died : july 30 , 2007 faro.

Bergman and his mother.

Bergman and Music
Part 3. Wolfgang Amadeus Mozart and Bergman
That the music of Wolfgang Amadeus Mozart has been important for Bergman's work is suggested both personally and cinematically. In personal terms, Bergman's comments on Mozart are reminiscent of his general remarks regarding the relative important of painting and music (the former being pleasurable, the latter being necessary). When asked by an interviewer about a reference to Mozart in an Alfred Hitchcock film, Bergman was quick to distance himself from the disinterested view of a character in the film Vertigo. In response to the comment that in this film Hitchcock has a girl say to a physician, "Doctor, I don't think Mozart helps in the least," Bergman remarked, "Mozart helps me tremendously!" To the degree that much of the Mozart music which appears in Bergman films is essentially romantic in character, perhaps Bergman's affirmation of its importance has to do with its salvific capacity. It may well be the case that Bergman's view of Mozart's music is to be placed in the same understanding as that of Paul Bekker, whose study of this musical tradition had on earlier occasion led him to the claim that "all romantic music is music of redemption."
In an early essay, Bergman describes musical notes as "the most perfect signs" and voices his contention that "film itself is music." When, at a later time, he was asked by an interviewer why he seemed to be using music less and less frequently in his films, Bergman responded, "Because I think that film itself is music, and I can't put music in music." It is not surprising, then, that the director could describe his charming early film Smiles of a Summer Night as "a bit of Mozart," or that he could use as his title for a later film a phrase from a music critic who compared a Mozart quartet with "cries and whispers."
Michael Bird

Bergman and Music
Part 2. Bach and Bergman
The significance of the work of Johann Sebastian Bach in the cinema of Ingmar Bergman can be fully appreciated only if one considers that Bach's music is not merely in the films, but is of the films.
Of all composers whose music has been incorporated within Bergman's films, it is Bach who figures most prominently in the ongoing work. At a cursory glance, one encounters Bach compositions used significantly in works as diverse as The Silence (The Goldberg Variations), Cries and Whispers (a Cello Sonata), Through a Glass Darkly (the D-minor Cello Suite),Wild Strawberries (the E-flat minor Fugue), Autumn Sonata (where the cellist Leonardo played "all Bach's solo suites") and to a lesser degree in Hour of the Wolf, The Passion of Anna, Persona and other films.
One of the most fully-developed manifestations of Bach compositions within the thematic structure of a film is to be found in The Silence. Here, the soft playing of Bach's Goldberg Variations on the radio in Ester's darkened room has the potential to console the ailing older sister in a manner similar to an earlier historical situation. In its original context, this music had a healing role, for it had brought consolation to the pain-ridden and insomniac Count Keyserling, at whose instigation Bach composed the work for Johann Goldberg. In The Silence, where communication has been broken on all fronts, Bach's music becomes nearly the only personal bridge between Ester and the old waiter. Although they cannot speak the same language, they are able to establish intimacy and commonality of spirit by their shared hearing of this music and their simultaneous utterance of the composer's name. Their intonation of the name "Johann Sebastian Bach," with its notable three-fold repetition of the word "Bach," possesses an almost liturgical quality, in which the participation in the recitation of established words enables the meeting of souls heretofore isolated from one another.
Michael Bird

Bergman and music.
Part 1. Music as a spiritual Metaphor in the Cinema of Ingmar Bergman.
If there is a thoroughly consistent theme in Bergman's comments regarding music -- a cantus firmus, we might like to say -- it is his continuous reference to music as a means of communication, as a consolation, and as a source of meaning in his ongoing self-examination as artist and spiritual being.
The question of communication -- its possibilities and its limits -- has generally been formulated by Bergman as a problem of language, speech, words. In some contexts, he has suggested music as an alternative mode of encounter. It is interesting that in his attempts to define cinematic art in relationship to other art forms, he finds the closest connections to be not with drama or the novel or with painting, but rather with music. In an interview in The Saturday Review, he intimates at the potential for greater profundity of expression as the reason for the comparison. "I find it easier to compare film... to music. In pure film and pure music there is a feeling that goes directly to some deeper level." The notion of "deeper communication" is implied in that definition of "musical" sensitivity which emphasizes equally the roles of performing and hearing, acting and responding. The role of film as agent of such communication is in keeping with Bergman's remark, "I often experience a play or film musically" and his contention regarding the relatedness of film to music: "I would say that there is no art form that has so much in common with music. Both affect our emotions directly, not via the intellect.
Bergman was to defend his conception of film's emotional, rather than rational, nature, by reference to a contemporary composer whose work had inspired him in the conceptualizing of Winter Light: "I never ask people to understand what I have made. Stravinski once said, 'I have never understood a piece of music in my life. I always only feel.' ...I have exactly the same feeling when I see a play. It is as if I were hearing a string quartet by Bartók. I never try to understand...".
"Michael Bird"

Cello suite in G major-Sarabande from Johann Sebastian Bach in "Autumn Sonata (1978)"

"Shame" (1968)
Ingmar bergman
Starring: Liv Ullmann and Max Von Sidow
It is a question without answer in "shame", which does not deliver a message in any formal way, but simply offers people and their lives and leaves us to conclude what we choose.
In 1968, at the height of the Vietnam war, Bergman made this angry and bleak film that was against all war, and argued it didn't matter which side you were on.
"Roger Ebert"

Happy bergman's birthday.
100 years ago on july 14, 1918.

First pic: Fanny and Alexander (1982)
Ingmar Bergman
Second pic: The White Ribbon (2009)
Michael Haneke

"Summer with Monika" in "The 400 Blows"(1959)
From : François Truffaut

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