Word: bergman
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Dates: during 1980-1989
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Click click click. The central figure in all these vignettes is the real- life Ingmar Bergman, and never has an autobiography been more aptly titled than The Magic Lantern. For it is as if the great director, whose passion for the transforming power of the vividly projected image was first stirred by the paraffin-lamp projector that was his favorite childhood toy, is rummaging through a boxful of old slides and throwing them on memory's screen in the order they come to hand, without pause or transitional comment...
Whether confronting the deep past -- his bourgeois childhood as the son of a stern Lutheran minister and dutifully repressed mother -- or his adult past, where wives, mistresses and children drift almost anonymously through the shadows of his theaters and sound stages, Bergman rarely strikes the customary autobiographical notes of nostalgia and the tranquil acceptance of fate. To him, middle-class morality is a cloak for madness, family life an invitation to distraction and guilt. Neither helps one come to grips with decay, eroticism, violence -- those irrational torments by which the unseen world insists on its presence in our lives...
...first five minutes, the teams looked evenly matched. Vermont came out strong, forcing Harvard goalie Michael Bergman into making three tough saves on its initial possession...
...working with Bergman is not always easy, Josephson says, calling the director "very controlling, but in a good way." He remembers one scene in Cries and Whispers in which he is fed an omelette by Liv Ullmann, a member of Bergman's troupe who Josepshson thinks is "a sort of genius...
...each time they shot the sequence, Bergman was dissatisfied. Finally, 13 omelettes later, Josephson grew so weary and upset that he gave the performance the director wanted...