Harriet Andersson

A young woman, Karin, has recently returned to the family island after spending some time in a mental hospital. On the island with her is her lonely brother and kind, but increasingly desperate husband (Max von Sydow). They are joined by Karin’s father (Gunnar Björnstrand), who is a world-traveling author that is estranged to his children. The film depicts how Karin’s grip on reality slowly slips away and how the bonds between the family members are changing in light of this fact.Read More »

Synopsis
In the early fifties Ingmar Bergman got himself a cine-camera, a 9.5 mm Bell & Howell, which he often used both privately and in his work. “Bilder från lekstugan” (“Images from the Playground”) embark on these films, giving a diverse representation of one of the greatest artists in cinema.Read More »

“Things are never crazy in and of themselves. They only seem so from the outside.”De två saliga (The Blessed Ones or The Blessed Pair) is a 1986 made-for-television film directed by Ingmar Bergman, with a screenplay by Ulla Isaksson, based on her novel of the same name made two decades earlier in 1962. Isaksson’s novel, heavy in Christian imagery, follows a psychologist as he becomes more and more obsessed by Viveka and Sune, a former patient and her husband.Read More »

Quote:
Conceived as an amusing diversion in the wake of Ingmar Bergman’s despairing trilogy, this comedy is the director’s first film in color, and it is an opulent visual feast. Working from a bawdy screenplay he cowrote with actor Erland Josephson, about a supercilious critic drawn into the dizzying orbit of a famous cellist, Bergman brings together buoyant comic turns by a number of his frequent collaborators, including Jarl Kulle, Eva Dahlbeck, Harriet Andersson, and Bibi Andersson. All These Women, in which Bergman pokes fun at the pretensions of drawing-room art, possesses a distinctly playful atmosphere and carefree cadences.Read More »

Quote:
In his book Images, Ingmar Bergman has written: “All my films can be thought of in terms of black and white, except for Cries and Whispers. In the screenplay it says that red represents the interior of the soul. When I was a child, I imagined the soul to be a dragon, a shadow floating in the air like blue smoke – a huge winged creature, half bird, half fish. But inside the dragon, everything was red.”

Certainly, Cries and Whispers marks the most sophisticated use of color in Bergman’s long career. It was only in 1963 that he turned, somewhat reluctantly, to color for All These Women, and even after that he continued to opt for black and white in such critical films as Persona, Hour of the Wolf, and Shame. With Cries and Whispers, however, Bergman for once – by his own admission – wants the work to be regarded in chromatic terms.Read More »