Word: film
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Dates: during 1960-1969
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Visions at the Box Office. In the last four years the films of Ingmar Bergman (pronounced Bear ih mahn), almost unknown outside Sweden before 1956, have captured an impressive amount of screen-time in more than a dozen countries. One after another-Smiles of a Summer Night, The Seventh Seal, Wild Strawberries, Brink of Life, The Magician-they have carried off top prizes at the big film festivals and set the turnstiles twirling on the commercial circuits as no Scandinavian film has done since Garbo was a girl. And last week Stockholm was looking aghast at the latest product...
...script three times before both are satisfied. But once the script is set, Dymling steps aside; he refuses to set foot on the set while Bergman is shooting. Then Bergman grimly pulls on the sailor's watch cap he wears in the studio and starts to shoot his film: "A tapeworm 2,500 meters long that sucks the life and spirit out of me. It is dreadfully exacting work. When I am filming...
Together, these players form a unit unique in the history of film: a cinema stock company trained by one director and dedicated to his purposes, beyond question the finest collection of cinemactors assembled under one roof. Among the principals: Gunnar Björnstrand, a skinny, thin-lipped, cold-eyed man who portrays the intellectual icicles Bergman loves to dissolve; Eva Dahlbeck, a bright-eyed, matronly blonde who is far and away the finest comedienne in the troupe; Max von Sydow, a tall, gaunt, rugged actor who generally personifies Bergman's spiritual search and sufferings; Harriet Andersson, a full-lipped...
...location, Bergman works swiftly and surely, plans and almost always manages to shoot three minutes of finished film every day. He runs four rehearsals for each scene, shoots three takes (as against dozens sometimes done in Hollywood), uses up about 20,000 feet of film for a 7,000-foot picture. (For Ben-Hur, which ran 19,000 feet, Hollywood's William Wyler exposed 1,250,000 feet of celluloid.) When a picture is finished. Bergman cuts it ruthlessly, taking his motto from William Faulkner: "Kill all your darlings!" When they are all dead, Bergman collapses in a savage...
...Bergman has said seriously, "there is only one loyalty: to the film on which I am working. I may lie if it is a beautiful lie, prostitute my talent if it will further my cause, steal if there is no other way out. I could also kill my friends or anyone else if it would help...