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- (PROJECTOR CLICKS ON)
- (FILM REEL WHIRS)
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NARRATOR: This is Ingmar Bergman,
a 38-year-old film director.
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The year is 1957,
and he suffers terrible stomach pains.
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When he can't sleep, he writes.
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This January, he writes the following
to his friend, Sture Helander, a doctor:
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ACTOR (AS BERGMAN):
"I never sleep longer than until 4:30".
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"That's when my stomach turns inside out
and my angst fires up a blowtorch".
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"I don't know what it's about,
but it's beyond description".
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"Maybe I'm afraid
of not being good enough".
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BERGMAN (IN SWEDISH):
With these insanely high expectations
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and these impossible demands,
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not only here in Sweden,
but around the world, generally,
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it amounts to a lot of pressure.
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So one just has to try and forget
these demands on one's person.
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NARRATOR: Ernst Ingmar Bergman
suffers constant and persistent angst.
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1957 is completely pivotal for him.
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Right now, he has an active stomach ulcer,
but no time to deal with it.
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Because he's got
six productions opening this year.
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STRÖMGREN (IN SWEDISH):
The year of 1957...
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When it comes to Bergman's tremendous
productivity, all I can do is ask:
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"How was it possible?"
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NARRATOR: It's January 1957,
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and in a few weeks,
The Seventh Seal will be released.
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Bergman shot it the previous summer.
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He's been making films for 13 years,
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and this is the first time he's
allowed to do exactly as he wishes.
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(IN SWEDISH) Who are you?
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(IN SWEDISH) I'm Death.
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(IN SWEDISH) - Is that your ride back there?
- Yes.
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A bit antiquated, eh?
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NARRATOR: This film will be named
Wild Strawberries.
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In January 1957, Bergman has neither
conceived of it, nor filmed it yet.
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But before the year is over,
it, too, will premiere.
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How this is possible
is beyond comprehension.
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LINDBLOM (IN SWEDISH):
It's impossible to imagine
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how he could cope
with such an enormous workload.
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- (CLATTERING)
- (SHE GASPS)
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NARRATOR: This year, Bergman also
makes a film for television,
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and a feature film in a hospital setting,
and four theatre productions...
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REPORTER:
Directed by Ingmar Bergman.
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NARRATOR: ...two of which are simply huge.
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BERGMAN (IN SWEDISH):
When I try to date something,
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I date it according to films and plays.
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I don't remember much
of my private life.
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I can't remember
when my children were born.
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I can't tell their ages. Only roughly.
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But I can't remember
which years they were born.
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NARRATOR: This summer, Bergman will turn 39.
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Already, he has six children
with three different women.
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And this is the year
when he finally understands
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that if his films are to be great,
they have to be about him.
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He is, after all, Ingmar Bergman
- and the year is 1957.
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A YEAR IN A LIFE
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(IN SWEDISH): Well, shall we get started?
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Right, let's start.
Let's ask them to turn off the lights.
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- (PROJECTOR CLICKS ON)
- (FILM REEL WHIRS)
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NARRATOR: Ingmar Bergman is a mystery.
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He is the world's
most famous film director
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surrounded by a monumental myth.
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Mainly because he wrote
a number of books about himself,
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filled with contradictory information.
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When Bergman writes about himself,
nobody knows what's true or false.
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If you look for Bergman,
the only place you find him is in his films.
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In his films,
Ingmar Bergman is completely honest.
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He starts this practise in 1957.
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BERGMAN (IN SWEDISH):
Every artist who creates intense depictions
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of his own problems,
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which he believes not only to be
important to him, but also to others,
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needs to use himself.
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And then, the issue of egocentricity
will always pop up.
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It's inevitable, actually.
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(IN SWEDISH):
Uncle Isaac is a selfish old man.
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Totally ruthless
and refusing to listen to other people.
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TROELL (IN SWEDISH): He got a lot of
inspiration from his own life,
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and dressed himself up
as all those different characters.
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That's how I've seen it.
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(IN SWEDISH): I would like to be warm,
tender and alive...
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BERGGREN (IN SWEDISH): That's all Ingmar's
own shitty life, as he'd describe it.
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He told me: My life is piss-awful.
All I have is my work...
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- But your marriages, and your kids...?
- My life's still piss-awful.
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(IN SWEDISH) Why the angry look?
Are your nerves playing up?
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Are you feeling tormented?
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Shut up! Shut up!
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DE GEER (IN SWEDISH):
I think this is obvious in many of his films.
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Take Autumn Sonata, in which a pianist
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lives for her art,
but neglects her children.
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ACTRESS (IN SWEDISH): Help me!
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DE GEER (IN SWEDISH): All these films,
which people think are about someone else
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are always, without fail,
about Bergman himself.
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NARRATOR: The path Bergman chooses in 1957,
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to explore the human soul
by making films about himself,
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leads to immeasurable success
all over the world.
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By the 1970s,
when this interview takes place,
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there's a name for the craze:
Bergmania.
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Sitting next to me is one of the most admired
and even worshipped men
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in the movie world, and the entire
entertainment and theatrical industry:
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Ingmar Bergman has directed
an astonishing number of masterpieces.
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The Magician, The Virgin Spring...
The list goes on.
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Through a Glass Darkly
and The Passion of Anna.
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I've left out a great number of them...
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CAVETT: I'd had a desire to interview
Bergman for some years,
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but I was told it'd never happen.
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I even thought: Maybe he won't show up.
Who knows how weird he is?
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First, I must compliment you
on being exactly on time today.
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I know that you like punctuality.
We met last night, and...
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NARRATOR: World-famous, Dick Cavett,
moves his entire studio to Stockholm
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to be granted an interview
with Bergman, at last.
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During this interview,
Cavett is the one who is nervous.
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CAVETT: My image of what Ingmar Bergman
would be like when we met
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was that he'd emerge from a cave
with cobwebs and low lighting
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dressed as Count Dracula.
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NARRATOR: Cavett gets a film title wrong:
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CAVETT: Masterpieces like Wild Strawberries,
Smiles of A Summer Night,
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and The Seventh Veil... Seal.
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INTERVIEWER: You said The Seventh Veil
instead of The Seventh Seal.
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I know! God...
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I think I'd repressed that,
and I've just remembered it.
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There was at least one more.
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I said "Ingrid Bergman"
instead of "Ingmar Bergman".
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Almost anyone
should be able to tell them apart.
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- You, too, were a little bit nervous.
- Yes, I was.
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NARRATOR: Dick Cavett,
who has interviewed countless dignitaries,
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is so nervous that he stutters
and bows before a poorly-dressed Swede
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with a very unusual accent.
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What was it that Bergman did?
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How did he become
such an enormous icon?
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REPORTER (IN SWEDISH):
...the Swedish Film Society Plaque
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to Ingmar Bergman and Viktor Sjöström.
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INGMAR BERGMAN'S NEW FILM
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(IN SWEDISH): Do you like wild strawberries?
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I know where they grow. Shall we go?
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NARRATOR: In the early 1950s,
Bergman finds a recipe for success:
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Young, nude bodies in a romantic
Swedish archipelago setting.
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This is a huge hit abroad,
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and sex-starved people all over the world
flock to see Summer with Monika.
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ACTRESS (IN SWEDISH):
We can do it. We can go where we want!
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NARRATOR: After Summer with Monika,
his international breakthrough,
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Bergman gets more interested in
people's inner lives.
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THE SEVENTH SEAL
- BEST SWEDISH FILM THIS YEAR
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REPORTER (IN SWEDISH): No Swedish dramatist
has narrated about medieval Sweden
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with such passion
since Strindberg's The Folkunga Saga,
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and it's all the more amazing
we have the resources to do it on film...
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NARRATOR: February 7th is the opening night
of The Seventh Seal.
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This is the first big event
for Bergman in 1957.
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(CAMERAS CLICK)
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(IN SWEDISH):
I see - the camera's over there.
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When I got there, people whispered:
Ingmar is over there. Better be quiet.
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That kind of thing. Ingmar was there,
like the mast in the middle of the ship.
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BERGMAN (IN SWEDISH) After that success,
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no one has ever meddled with
what I wanted to do.
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I've been allowed to do what I wanted.
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One of the best-known living Swedes
and one of the greatest film directors,
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Ingmar Bergman, has portrayed,
in one of his films a fragment of this
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dark, brutal, plague-ridden Sweden
of 600 years ago.
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- Okay, I got it! Ready?
- Yes.
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When I first saw The Seventh Seal,
I was struck by its black-and-whiteness.
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It's stark difference to some of
the Hollywood musicals of the same time.
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WEINSTEIN: With The Seventh Seal,
of course, one sees a kind of
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panorama of medieval Sweden, or 14th
century Sweden, hit by the Black Plague.
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"Digerdöden",
I think it's called in Swedish.
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(IN SWEDISH) - The plague!
- Stay on that side of the trunk!
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(HE GASPS FOR AIR)
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(IN SWEDISH): I'm afraid of dying!
I don't want to die!
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LINDBLOM (IN SWEDISH): I remember the scene
where Erik Strandmark gets so scared
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of the approaching Death
in his black robes
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so he climbs a tree
and settles on a branch.
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And Death gets closer and closer...
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ACTOR (IN SWEDISH):
Damn, is it my tree he is sawing down?
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Drat you, you scoundrel!
What's with my tree?
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That guy's up in the tree
and Death is chopping it down.
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He says "Why are you doing that?"
"Well, your time is up."
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(IN SWEDISH) - No! I haven't got the time.
- No time, eh?
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(IN SWEDISH): Then, the fool says:
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(IN SWEDISH): Is there no escape?
No exceptions for actors?
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Nope. Not in this case.
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(IN SWEDISH): "No exceptions for actors?"
Such a wonderful line.
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- (CRACKING)
- (IMPACT THUD)
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(FILM REEL WHIRS)
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NARRATOR: With The Seventh Seal,
Bergman is given complete artistic freedom
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but very little time
and a tiny, tiny budget.
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LINDBLOM (IN SWEDISH):
He was careful where the camera went
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to avoid filming the blocks of flats.
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They were there, not far from
what we called the forest.
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NARRATOR: Bergman searches
for the perfect beach
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together with actress, Bibi Andersson,
and cinematographer, Gunnar Fischer.
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They finally find it:
Hovs Hallar in Skåne.
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Bergman shoots
his most iconic scene ever, here.
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(IN SWEDISH) - Who are you?
- I'm Death.
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- Have you come for me?
- I've been by your side a while now.
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00:14:05,880 --> 00:14:09,280
- I know that.
- Are you ready?
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I had never seen and couldn't have
conceived a film where Death is visible.
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Death in a clown face, who opens
his cape and the screen goes black.
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(IN SWEDISH) - One moment!
- You all say that. I give no respite.
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But you do play chess?
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BERGMAN (IN SWEDISH): "Who are you?"
And the man in black replies: "I'm Death."
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Then, either you accept that he is Death
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or you think:
"No way, that's Bengt Ekerot."
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"His face has been whitened
and he's wearing a robe."
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But that's the amazing
power of suggestion.
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That's the amazing excitement
when you do things
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and make people believe it all.
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(FILM REEL WHIRS)
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NARRATOR: The Seventh Seal
mirrors Bergman's inner world.
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All his life he's had an enormous fear
of death,
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and this is what the film is about.
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(HIS WHISPER ECHOES OUT)
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BERGMAN (IN SWEDISH):
This film was an attempt
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at ridding myself of my fear of death.
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And to a certain extent, it worked.
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I grew up in a rectory family.
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I'm the son of a priest, and as such,
you live quite close to death.
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NARRATOR: Ingmar Bergman grows up
in Stockholm in the 1920s.
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He has an older brother, Dag,
and a younger sister, Margareta.
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00:16:13,280 --> 00:16:17,960
His mother's name is Karin
and his father, Eric, is a clergyman.
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(HE INHALES DEEPLY)
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(IN SWEDISH): Alexander, my dear boy...
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00:16:24,200 --> 00:16:29,000
Before these witnesses, you've accused me
of murdering my wife and children.
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00:16:29,040 --> 00:16:29,880
What?
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00:16:29,920 --> 00:16:31,440
(DEEP RUMBLING)
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NARRATOR: There are many priests
in Bergman's films.
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00:16:36,360 --> 00:16:41,240
The most well-known one is
Bishop Vergérus in Fanny and Alexander.
222
00:16:41,320 --> 00:16:44,560
This character is based on
Ingmar Bergman's own father.
223
00:16:46,520 --> 00:16:49,160
BERGMAN (IN SWEDISH):
There. He walks...
224
00:16:49,240 --> 00:16:50,680
That's it.
225
00:16:53,880 --> 00:16:58,520
(IN SWEDISH): Portraying that cold,
cold character was great fun.
226
00:16:58,600 --> 00:17:01,240
He was...
227
00:17:03,240 --> 00:17:07,480
A character made up
of so many unsound beliefs.
228
00:17:07,560 --> 00:17:12,440
(IN SWEDISH): I don't understand...
Do you think a person can go unpunished
229
00:17:12,520 --> 00:17:15,400
after dishonouring another person?
230
00:17:15,480 --> 00:17:19,520
MALMSJÖ (IN SWEDISH):
It was a horrific scene, that whipping scene.
231
00:17:19,600 --> 00:17:25,160
And Bergman said: "Goddammit,
you really remind me of my father."
232
00:17:25,240 --> 00:17:27,880
Yes, I resembled his dad.
233
00:17:27,960 --> 00:17:29,720
(IN SWEDISH):
What form of punishment would you like?
234
00:17:29,760 --> 00:17:33,600
Cane, castor oil or dark cupboard?
235
00:17:33,680 --> 00:17:36,680
- How many strikes with the cane?
- Ten.
236
00:17:36,760 --> 00:17:37,760
The cane.
237
00:17:39,320 --> 00:17:43,200
BERGMAN (IN SWEDISH): I dealt with
my upbringing by lying and pretending.
238
00:17:43,280 --> 00:17:47,960
And by assuming an identity which...
239
00:17:48,040 --> 00:17:52,480
- ...my parents could view as acceptable.
- (WHIP CRACKS)
240
00:17:52,560 --> 00:17:57,320
I lied unreservedly and with ease.
241
00:17:58,720 --> 00:18:04,400
Every now and then,
one was found out and heavily punished.
242
00:18:05,880 --> 00:18:08,480
PRIEST (IN SWEDISH): Stand up, Alexander!
243
00:18:08,560 --> 00:18:11,760
- What would you like to say?
- Nothing.
244
00:18:11,840 --> 00:18:13,960
You should apologise to me.
245
00:18:14,040 --> 00:18:18,480
NARRATOR: Bergman describes the abuse
in his autobiography Laterna Magica.
246
00:18:18,560 --> 00:18:20,160
"The Magic Lantern."
247
00:18:20,240 --> 00:18:24,800
However, this book
isn't always a reliable source.
248
00:18:24,880 --> 00:18:28,200
(IN SWEDISH): Like so much else
in Bergman's life,
249
00:18:28,280 --> 00:18:33,720
he projects some of the things that
his brother experienced on himself.
250
00:18:33,800 --> 00:18:38,080
It's very odd.
It could be beatings, for example.
251
00:18:38,160 --> 00:18:42,600
Ingmar wasn't the one
who was beaten, it was Dag.
252
00:18:44,520 --> 00:18:48,040
NARRATOR: Dag Bergman
is four years older than Ingmar.
253
00:18:48,120 --> 00:18:53,200
The two brothers are always fighting,
and Dag, being older, often wins.
254
00:18:55,320 --> 00:18:58,560
DAG (IN SWEDISH): I remember one summer
at our country place.
255
00:18:58,640 --> 00:19:01,000
I was ten years old and he, five or six.
256
00:19:01,080 --> 00:19:04,200
He was coming fishing with me.
257
00:19:04,280 --> 00:19:08,080
I didn't want his company.
He babbled and scared the fish.
258
00:19:08,160 --> 00:19:12,600
I said he could come on the condition
he kept the worms in his mouth.
259
00:19:12,680 --> 00:19:18,440
He agreed, and I can see him
with worms sticking out of his mouth.
260
00:19:18,520 --> 00:19:22,240
Half-crying, he was.
He probably swallowed a few.
261
00:19:23,600 --> 00:19:27,360
(IN SWEDISH) - I'll put the coin here.
- What do you want me to do?
262
00:19:29,280 --> 00:19:31,960
- You're going to eat this worm.
- What?!
263
00:19:32,040 --> 00:19:36,760
- Shut your gob and stop looking silly.
- Alright, give me the bloody worm.
264
00:19:47,920 --> 00:19:48,960
(HE GULPS)
265
00:19:53,080 --> 00:19:57,720
NARRATOR: As they grow up,
Dag keeps trying to ruin Ingmar's life.
266
00:19:57,800 --> 00:20:00,200
Dag's version of the film Torment,
267
00:20:00,280 --> 00:20:04,200
is diametrically opposed
to the general interpretation of the film.
268
00:20:04,280 --> 00:20:08,640
DAG (IN SWEDISH): Let me tell you:
Ingmar was the favourite pupil.
269
00:20:10,040 --> 00:20:12,520
We had the same teacher in some cases.
270
00:20:12,600 --> 00:20:16,800
One day in front of the entire class,
this teacher said to me:
271
00:20:16,880 --> 00:20:19,120
"This morning, I taught your brother,"
272
00:20:19,200 --> 00:20:23,840
"Master Bergman in whose
knowledge there are no gaps".
273
00:20:23,920 --> 00:20:30,000
"Looking at you, you're master Bergman
in whose gaps there's no knowledge".
274
00:20:30,080 --> 00:20:32,960
TEACHER (IN SWEDISH):
Open your book. The homework for today.
275
00:20:34,760 --> 00:20:37,120
Faster! Faster!
276
00:20:37,200 --> 00:20:39,840
(IN SWEDISH): "The battle lasted
for three days".
277
00:20:39,920 --> 00:20:44,200
NARRATOR: Torment depicts
a Swedish high school in the 1940s.
278
00:20:44,280 --> 00:20:47,560
It's the first film set
that Bergman attends.
279
00:20:47,640 --> 00:20:51,960
He has written the screen play
and works as a script boy on the film,
280
00:20:52,040 --> 00:20:54,320
but dreams of directing.
281
00:20:55,720 --> 00:20:59,040
INTERVIEWER (IN SWEDISH):
But haven't Swedish critics believed
282
00:20:59,120 --> 00:21:02,840
that Ingmar was referring to himself
as a kind of self-portrait?
283
00:21:02,920 --> 00:21:09,000
Well, it can't have been, as Ingmar was
a little angel at school, loved by all.
284
00:21:09,080 --> 00:21:12,400
That was the case until he graduated.
285
00:21:12,480 --> 00:21:15,280
(IN SWEDISH): That's cheating, Sir. Cheating!
286
00:21:18,920 --> 00:21:20,000
(CLAP)
287
00:21:20,840 --> 00:21:23,840
NARRATOR: When this interview with Dag
was to be broadcast
288
00:21:23,920 --> 00:21:27,000
on Swedish national TV in the 1980s,
289
00:21:27,080 --> 00:21:29,880
Ingmar Bergman protested violently,
290
00:21:29,960 --> 00:21:33,760
finally getting the last say
in their life-long argument.
291
00:21:33,840 --> 00:21:38,680
The interview, which was scrapped,
can now be shown for the first time.
292
00:21:39,920 --> 00:21:46,720
(IN SWEDISH): Well, Ingmar was,
without doubt, our father's favourite child.
293
00:21:46,800 --> 00:21:50,000
I was Dad's whipping boy.
294
00:21:50,080 --> 00:21:53,440
Dad hit me more or less
whenever he saw me.
295
00:21:53,520 --> 00:22:00,440
Ingmar didn't really suffer,
and was happy to spend time with Father.
296
00:22:00,520 --> 00:22:04,400
He soon realised
that if he asked clever questions
297
00:22:04,480 --> 00:22:09,080
on the life of angels
and what little Jesus and Heaven were like,
298
00:22:09,160 --> 00:22:12,680
he was often rewarded
with hot cocoa and biscuits.
299
00:22:13,960 --> 00:22:15,760
(BELL TOLLS)
300
00:22:15,880 --> 00:22:20,880
(IN SWEDISH): Holy, holy, holy
is the Lord God Almighty.
301
00:22:22,560 --> 00:22:25,120
Heaven and earth are full of His glory.
302
00:22:26,200 --> 00:22:27,680
(BELL TOLLS)
303
00:22:31,600 --> 00:22:36,240
BERGMAN (IN SWEDISH):
My brother was in many ways
304
00:22:36,320 --> 00:22:38,800
a human being who...
305
00:22:39,960 --> 00:22:44,080
was totally and irreparably damaged
306
00:22:44,160 --> 00:22:47,680
because of the way he was brought up.
307
00:22:47,760 --> 00:22:52,560
And in some way,
I had a similar upbringing.
308
00:22:52,640 --> 00:22:57,640
You could almost say I was brought up
in the same way as my brother.
309
00:23:01,960 --> 00:23:04,440
The damage was long-lasting.
310
00:23:04,520 --> 00:23:07,160
And I have...
311
00:23:08,160 --> 00:23:15,320
spent most of my life
sorting myself out after that upbringing.
312
00:23:21,000 --> 00:23:23,640
(IN SWEDISH): There's no getting rid of me.
313
00:23:29,440 --> 00:23:34,440
NARRATOR: Bergman's films Torment
and Fanny and Alexander are autobiographical.
314
00:23:34,520 --> 00:23:38,000
He went to that school.
He had that father.
315
00:23:38,080 --> 00:23:41,560
But maybe he isn't the main character.
316
00:23:42,680 --> 00:23:46,720
Maybe Ingmar Bergman
is actually the girl, Fanny,
317
00:23:46,800 --> 00:23:51,800
daring to admit that he stood by
in silence; a witness to the abuse.
318
00:23:57,080 --> 00:23:58,960
(FLOORBOARDS CREAK)
319
00:24:03,640 --> 00:24:06,720
PRIEST (IN SWEDISH):
What are you reading, Alexander?!
320
00:24:14,960 --> 00:24:17,600
Good night, my boy.
321
00:24:22,160 --> 00:24:25,600
NARRATOR: Around this time,
young Bergman begins his escape
322
00:24:25,680 --> 00:24:28,040
to the illusory world of film.
323
00:24:28,120 --> 00:24:31,440
It's a less violent place.
He likes it there.
324
00:24:32,880 --> 00:24:36,760
BERGMAN: I think I was six years old
when I saw my first picture.
325
00:24:36,840 --> 00:24:40,920
It was about a horse -
Black Beauty or something.
326
00:24:41,000 --> 00:24:47,680
Then, you know, I was a passionate
cinema goer from that moment.
327
00:24:47,760 --> 00:24:52,200
As much as my parents allowed me to go.
328
00:24:59,720 --> 00:25:03,960
There was only a very small film in it.
329
00:25:04,040 --> 00:25:07,000
A round one, about three metres long.
330
00:25:09,760 --> 00:25:13,280
A young lady sitting on a meadow.
331
00:25:13,360 --> 00:25:19,360
She was asleep, she woke up,
she was dancing around and out to the left.
332
00:25:19,440 --> 00:25:22,840
And then you started again and again...
333
00:25:22,920 --> 00:25:24,400
That is my most...
334
00:25:26,440 --> 00:25:31,160
tremendous, enormous cinematic experience.
335
00:25:31,240 --> 00:25:33,760
I could make her move!
336
00:25:33,840 --> 00:25:37,840
If I made it slow,
she moved very, very slowly,
337
00:25:37,920 --> 00:25:44,720
and if I made it fast,
she was dancing very fast and out.
338
00:25:44,800 --> 00:25:48,080
And even today,
339
00:25:48,160 --> 00:25:51,960
when I sit at the editing table,
you know,
340
00:25:52,040 --> 00:25:57,400
I can sit and find it extremely
fascinating, extremely...
341
00:25:57,480 --> 00:26:03,960
Just the magic of the movements.
The shadow on my little screen.
342
00:26:04,040 --> 00:26:10,840
It's still exactly the same
very childish fascination.
343
00:26:22,840 --> 00:26:26,600
NARRATOR: Often, Bergman tells one story
about episodes in his life,
344
00:26:26,680 --> 00:26:29,640
while the archives and reality
tell another.
345
00:26:31,160 --> 00:26:33,720
Bergman has said
he was sent to Nazi Germany
346
00:26:33,800 --> 00:26:36,760
as an exchange student as a small boy.
347
00:26:36,840 --> 00:26:41,200
In reality, he is 18 years old -
almost a man.
348
00:26:42,160 --> 00:26:46,280
BOETHIUS (IN SWEDISH): In the 1930s,
it was very common to send
349
00:26:46,360 --> 00:26:51,320
middle-class and upper-class children
to Germany to learn German.
350
00:26:51,400 --> 00:26:58,320
In those days, Germany was the great
cultural nation we admired and loved.
351
00:26:58,400 --> 00:27:02,560
Even bigger than the US is today.
352
00:27:07,880 --> 00:27:11,920
ACTOR (AS BERGMAN): "After church,
we had coffee in the parish hall".
353
00:27:12,000 --> 00:27:18,320
"Many were in uniform, and there was
ample opportunity to say 'Heil Hitler'."
354
00:27:18,760 --> 00:27:20,000
(GERMAN GENERAL SHOUTS)
355
00:27:20,720 --> 00:27:25,000
BOETHIUS (IN SWEDISH): Ingmar Bergman,
himself, has described that stay in Germany
356
00:27:25,080 --> 00:27:26,240
as life-changing.
357
00:27:26,320 --> 00:27:29,280
He came from a rather grey and dull life
358
00:27:29,360 --> 00:27:35,360
into a world where people believed
in something and could die for something.
359
00:27:35,440 --> 00:27:41,000
He admired this
fantastic speaker called Hitler.
360
00:27:41,080 --> 00:27:46,040
He was on Germany's side
throughout the war.
361
00:27:48,920 --> 00:27:50,880
ACTOR (AS BERGMAN):
"We came to Weimar at noon".
362
00:27:50,960 --> 00:27:54,520
"And the parade and Hitler's speech
were on for 2:30".
363
00:27:54,600 --> 00:27:58,320
"The city was already
buzzing in anticipation".
364
00:27:58,920 --> 00:28:03,680
"I had never seen anything that came close
to this massive display of power".
365
00:28:04,560 --> 00:28:08,400
"I shouted like the others.
I raised my hand like them".
366
00:28:08,480 --> 00:28:12,560
"I bellowed like them -
and I loved like them".
367
00:28:12,640 --> 00:28:14,120
NARRATOR: In Laterna Magica,
368
00:28:14,200 --> 00:28:17,440
Bergman writes that he rejoiced
in Hitler's success
369
00:28:17,520 --> 00:28:19,400
and grieved his defeats.
370
00:28:19,480 --> 00:28:22,680
Upon seeing the photos
from the concentration camps,
371
00:28:22,760 --> 00:28:27,360
he thinks they have been staged
for propaganda purposes.
372
00:28:27,440 --> 00:28:33,760
Not until 1946, at the age of 28,
does Bergman reject Hitler.
373
00:28:33,840 --> 00:28:37,320
He's ashamed of his support
and swears never again
374
00:28:37,360 --> 00:28:41,600
to get politically engaged,
not even in his films.
375
00:28:43,360 --> 00:28:48,040
DEGEN (IN GERMAN): I just could not
understand that he still, after the war,
376
00:28:48,120 --> 00:28:52,040
when the concentration camps
were opened up...
377
00:28:52,120 --> 00:28:55,680
That still, after the war,
he maintained that he supported Hitler.
378
00:28:55,760 --> 00:28:57,960
And...
379
00:29:01,240 --> 00:29:05,520
...that he still, even then,
defended him!
380
00:29:07,880 --> 00:29:09,880
That is horrific.
381
00:29:10,880 --> 00:29:13,720
NARRATOR: At the same time
that Bergman supported Hitler,
382
00:29:13,800 --> 00:29:18,520
he is close to a young Jewish refugee
from Germany, Dieter Winter,
383
00:29:18,600 --> 00:29:21,600
who is staying in the Bergman home.
384
00:29:25,080 --> 00:29:29,040
WINTER (IN SWEDISH): My father
didn't really take this too seriously.
385
00:29:29,120 --> 00:29:35,120
On the contrary, he was quite angry
with Bergman's way of describing that.
386
00:29:35,200 --> 00:29:40,720
I'm pretty sure my dad
regarded that side of Bergman
387
00:29:40,800 --> 00:29:43,360
as little more than posing.
388
00:29:43,440 --> 00:29:49,640
As if he somehow wanted to show off with
feigned Nazi sympathies in his youth.
389
00:29:55,400 --> 00:29:57,720
BOETHIUS (IN SWEDISH):
Some people are hesitant
390
00:29:57,760 --> 00:30:02,480
and find it difficult to believe Bergman
when he says he was a Nazi.
391
00:30:02,560 --> 00:30:04,840
I can somehow understand that.
392
00:30:04,920 --> 00:30:10,120
Ingmar Bergman is a master of mythicism.
393
00:30:10,200 --> 00:30:15,360
He weaved stories,
including around his own life.
394
00:30:15,440 --> 00:30:23,240
You might think he was trying to make
himself - this famous man - look ugly.
395
00:30:23,320 --> 00:30:26,160
There are such syndromes...
396
00:30:26,240 --> 00:30:29,960
But after having spoken to him in depth,
397
00:30:30,040 --> 00:30:34,640
I'm convinced that
he really did have such sympathies.
398
00:30:35,760 --> 00:30:41,680
BERGMAN (IN SWEDISH): Sometimes,
my reality is completely distorted.
399
00:30:41,760 --> 00:30:45,480
I manage to contrive of a reality
400
00:30:45,560 --> 00:30:51,160
which is completely... ludicrous,
to tell the truth.
401
00:31:04,400 --> 00:31:06,800
What are your views on psychiatry?
402
00:31:07,640 --> 00:31:10,080
- What did you say?
- Psychiatry?
403
00:31:10,160 --> 00:31:13,720
- I know what it is. What do you mean?
- I mean...
404
00:31:13,800 --> 00:31:20,400
- My views? My views of psychiatry?
- You're often analysed in your work.
405
00:31:21,960 --> 00:31:27,200
I have been to a psychiatrist
once in my life.
406
00:31:27,280 --> 00:31:32,520
It is now about 15 years ago.
I've got restless legs, you know?
407
00:31:32,600 --> 00:31:36,240
- When you lie down, your legs start...
- You get that, too?
408
00:31:36,320 --> 00:31:41,760
- I get that all the time.
- It's terrible! Have you had that...
409
00:31:41,840 --> 00:31:44,920
NARRATOR: Ingmar Bergman often
gets his facts mixed up.
410
00:31:45,000 --> 00:31:49,200
To this interview, he brings along
actress Bibi Andersson for support.
411
00:31:49,280 --> 00:31:50,960
Maybe he shouldn't have...
412
00:31:51,040 --> 00:31:55,760
There was something you
mis-remembered with the psychiatrist.
413
00:31:55,840 --> 00:32:01,360
I was around and know the psychiatrist
didn't say he was extremely healthy.
414
00:32:01,440 --> 00:32:05,440
- He did not?
- He said he was so full of neurosis...
415
00:32:05,520 --> 00:32:10,800
so if he took them away,
he'd probably stop making films.
416
00:32:13,200 --> 00:32:16,880
- That came out extremely...
- I can't remember that. I'd forgotten.
417
00:32:19,040 --> 00:32:22,280
NARRATOR:
In 1957, Bergman sees a psychologist
418
00:32:22,320 --> 00:32:24,080
for the first and last time
419
00:32:24,160 --> 00:32:27,000
to seek help for his restless legs.
420
00:32:27,080 --> 00:32:30,880
That's also the year
his films become his therapy.
421
00:32:30,960 --> 00:32:36,560
There's no shortage of material:
he fears the dark, has stomach pains,
422
00:32:36,680 --> 00:32:39,080
he is jealous, claustrophobic,
423
00:32:39,120 --> 00:32:42,600
and has problems with food,
germs and animals.
424
00:32:42,680 --> 00:32:47,920
Bergman happily distorts the truth
and he's plainly a workaholic.
425
00:32:52,280 --> 00:32:57,360
In retrospect, I've often thought...
I hardly dare voice it, but...
426
00:32:57,440 --> 00:33:00,200
Today, we talk a lot about diagnoses...
427
00:33:00,920 --> 00:33:07,520
I suppose today, he'd be said to have
an untreated diagnosis of some kind.
428
00:33:10,040 --> 00:33:15,760
NARRATOR: After a painful childhood,
Bergman's teenage years offer no relief.
429
00:33:15,840 --> 00:33:22,480
(IN SWEDISH): I was tall, hunched up
and terribly, terribly thin.
430
00:33:22,600 --> 00:33:26,040
Like a scratch in a photographic negative.
431
00:33:26,120 --> 00:33:30,560
On top of that, I had terrible acne.
432
00:33:31,720 --> 00:33:36,480
And I was most unhappy with my body.
433
00:33:36,560 --> 00:33:41,480
And besides,
the girls used to think that I...
434
00:33:41,560 --> 00:33:44,960
that I looked incredibly funny.
435
00:33:45,040 --> 00:33:48,720
THUNBERG (IN SWEDISH): He didn't socialise
much with other youngsters.
436
00:33:48,800 --> 00:33:54,520
He didn't know how to dance,
play tennis or fiddle with motorboats.
437
00:33:54,600 --> 00:33:59,440
Nor could he dive head first
off the jetty.
438
00:33:59,520 --> 00:34:06,240
He mainly sat in his room,
performing plays with his puppets.
439
00:34:07,560 --> 00:34:11,280
BERGMAN (IN SWEDISH): From very early on,
the world of women
440
00:34:11,320 --> 00:34:14,000
was a separate country to me.
441
00:34:14,080 --> 00:34:20,320
Unknown territory, and I eagerly
decided to start mapping it out.
442
00:34:23,560 --> 00:34:28,680
NARRATOR: Of Bergman's early girlfriends,
Karin Lannby is probably most influential.
443
00:34:28,760 --> 00:34:32,440
She's an actress, a poet and a spy.
444
00:34:32,520 --> 00:34:35,560
They set up a theatre together
in Stockholm.
445
00:34:37,000 --> 00:34:39,680
THUNBERG (IN SWEDISH):
Karin Lannby and Ingmar Bergman
446
00:34:39,760 --> 00:34:42,520
met in an Old Town collective.
447
00:34:42,600 --> 00:34:45,280
This was a dramatic period,
448
00:34:45,360 --> 00:34:52,240
when we'd seen Denmark and Norway
being occupied by Nazi Germany.
449
00:34:52,320 --> 00:34:57,040
One of the first things
he said to her was supposedly:
450
00:34:57,120 --> 00:35:00,360
"We're just as mad, both of us".
451
00:35:00,440 --> 00:35:05,240
There's every indication
that it was a stormy relationship.
452
00:35:05,320 --> 00:35:08,160
Bergman was very jealous.
453
00:35:08,240 --> 00:35:12,480
This was confirmed
by many who worked with him.
454
00:35:15,240 --> 00:35:19,840
NARRATOR: Karin Lannby is the role model
for Ruth in Woman Without a Face
455
00:35:19,920 --> 00:35:21,960
which Bergman wrote the script for.
456
00:35:22,040 --> 00:35:26,360
(IN SWEDISH) - Are you already jealous?
- I can't take you being unfaithful.
457
00:35:26,440 --> 00:35:30,880
- Will you come home and kill me then?
- Indeed.
458
00:35:32,920 --> 00:35:34,640
Well - do it!
459
00:35:36,760 --> 00:35:39,520
THUNBERG (IN SWEDISH):
And Karin did have a secret life.
460
00:35:39,600 --> 00:35:44,680
She was signed up
by Swedish intelligence.
461
00:35:44,760 --> 00:35:48,400
She was to spy on people in restaurants.
462
00:35:48,480 --> 00:35:52,760
On foreigners that were suspected of
various things.
463
00:35:52,840 --> 00:35:54,840
But Bergman didn't know this.
464
00:35:56,400 --> 00:36:00,880
NARRATOR: A jealous man dating a secret spy
is not a perfect match.
465
00:36:01,640 --> 00:36:03,600
(THUNDER RUMBLES)
466
00:36:04,200 --> 00:36:09,760
NARRATOR: In an early draft of Laterna Magica
which Bergman later scrapped,
467
00:36:09,840 --> 00:36:12,920
he writes about a fight
that goes on for days
468
00:36:13,000 --> 00:36:17,880
and culminates when Lannby,
naked and battered, tried to stab him.
469
00:36:19,680 --> 00:36:22,680
Bergman lashes out with a stool
and hits her.
470
00:36:22,760 --> 00:36:26,640
Her face discolours;
her movements are jerky.
471
00:36:28,600 --> 00:36:31,200
Bergman writes:
472
00:36:31,280 --> 00:36:34,800
ACTOR (AS BERGMAN):
"I realise I am strangling her".
473
00:36:34,880 --> 00:36:39,080
"I'm beating her head against the floor
and I've entered her".
474
00:36:39,160 --> 00:36:43,120
"She wants me to kill her,
and I'm ready to oblige".
475
00:36:45,680 --> 00:36:49,480
NARRATOR: Why did Bergman
edit this section out of his book?
476
00:36:55,440 --> 00:36:57,680
THUNBERG (IN SWEDISH):
Why wouldn't it be true?
477
00:36:57,760 --> 00:37:02,760
The first draft he wrote
was for his autobiography,
478
00:37:02,840 --> 00:37:06,920
and at the same time,
in the same autobiography he wrote
479
00:37:07,000 --> 00:37:13,000
that Karin Lannby
meant a great deal to him,
480
00:37:13,080 --> 00:37:15,240
also on a sexual level.
481
00:37:15,320 --> 00:37:21,360
He puts it like this:
"She opened the bars and let out a lunatic."
482
00:37:24,560 --> 00:37:26,880
NARRATOR: In his films,
Bergman often returns
483
00:37:26,960 --> 00:37:30,960
to the mad jealousy
he experienced together with Lannby,
484
00:37:31,040 --> 00:37:34,040
including the destruction
such jealousy can cause.
485
00:37:35,480 --> 00:37:40,560
But the warped tension between them
is crucial to his artistry.
486
00:37:47,560 --> 00:37:50,040
(SHE STRUGGLES TO BREATHE)
487
00:37:59,560 --> 00:38:05,760
BERGMAN (IN SWEDISH): One's writings can
sometimes have a therapeutic quality.
488
00:38:06,960 --> 00:38:08,920
(TYPEWRITER CLICKS)
489
00:38:19,320 --> 00:38:22,520
THUNBERG (IN SWEDISH):
Karin Lannby kept saying to him:
490
00:38:22,600 --> 00:38:25,560
"You have to produce something".
491
00:38:25,640 --> 00:38:30,320
"You can't just go on dreaming
about projects and ideas".
492
00:38:30,400 --> 00:38:35,560
And what happened was
that once their relationship was over,
493
00:38:35,640 --> 00:38:41,400
then he started
to produce masses of stuff.
494
00:38:41,480 --> 00:38:46,960
It was a bit like a battery
that had been left to charge
495
00:38:47,040 --> 00:38:51,840
throughout their relationship,
and suddenly, the sparks start flying.
496
00:38:57,000 --> 00:39:00,000
NARRATOR: After Lannby,
Bergman starts making films.
497
00:39:00,080 --> 00:39:03,440
He is inexperienced
and many people interfere.
498
00:39:03,520 --> 00:39:06,280
He directs other people's bad scripts.
499
00:39:06,360 --> 00:39:08,040
(HE SHOUTS ANGRILY)
500
00:39:09,840 --> 00:39:11,800
(THEY JOKE IN SWEDISH)
501
00:39:13,720 --> 00:39:16,600
NARRATOR: When he finally gets to direct
his own material
502
00:39:16,680 --> 00:39:20,640
he's too novice,
too alone, too nervous.
503
00:39:20,720 --> 00:39:22,560
(BULLETS RING OUT)
504
00:39:23,680 --> 00:39:26,720
- CAVETT: Did you call it The Prison?
- BERGMAN: Yes, The Prison.
505
00:39:26,800 --> 00:39:29,560
BERGMAN: My first film on my own script.
506
00:39:29,640 --> 00:39:34,080
CAVETT: What should we know about that?
Most people probably haven't seen it.
507
00:39:34,160 --> 00:39:35,960
It's a very bad picture.
508
00:39:39,360 --> 00:39:42,720
FARAGÓ (IN SWEDISH):
The critics were rather nasty.
509
00:39:42,800 --> 00:39:48,360
However, some recognised his talent
but knew he still had to get there.
510
00:39:48,440 --> 00:39:51,640
He was accused
of being a juvenile joker.
511
00:39:54,720 --> 00:39:57,680
NARRATOR: Seeing his early films
often makes Bergman cringe.
512
00:40:01,400 --> 00:40:03,920
There's one film
Bergman is so ashamed of
513
00:40:04,000 --> 00:40:07,960
that he has banned it
from screening for evermore.
514
00:40:08,040 --> 00:40:13,040
Neither stills nor the poster
may be displayed - not even today.
515
00:40:13,120 --> 00:40:16,120
The film is called
This Can't Happen Here.
516
00:40:16,200 --> 00:40:19,040
DIRECTED BY:
INGMAR BERGMAN
517
00:40:19,120 --> 00:40:24,160
BERGMAN (IN SWEDISH): My first film, Crisis,
was made at the Swedish Film Studio premises.
518
00:40:24,240 --> 00:40:30,600
I was unmanageable
and generally loathed by everyone.
519
00:40:30,680 --> 00:40:33,240
And I was incredibly insecure.
520
00:40:36,960 --> 00:40:41,800
LANDGRÉ (IN SWEDISH): He was shouting
and ranting throughout the shooting of Crisis
521
00:40:41,880 --> 00:40:46,160
because of his own insecurity
and his ambitions, probably.
522
00:40:46,240 --> 00:40:49,040
This was his chance to make films.
523
00:40:49,120 --> 00:40:51,120
I think he wanted to exude:
524
00:40:51,200 --> 00:40:54,800
"I'm Ingmar Bergman,
up-and-coming director!"
525
00:40:56,120 --> 00:41:00,280
But I think Ingmar was more nervous
than anyone else.
526
00:41:00,360 --> 00:41:06,080
He was worried
and suffered from stomach aches.
527
00:41:07,760 --> 00:41:10,400
And he didn't utter a directive word!
528
00:41:10,480 --> 00:41:16,520
But he kept harassing our very kind
cinematographer, Gösta Rosling.
529
00:41:18,040 --> 00:41:20,320
He obviously wasn't well.
530
00:41:21,800 --> 00:41:24,960
He was forever having stomach pains.
531
00:41:25,040 --> 00:41:28,880
He was always tormented,
he wouldn't be up to scratch.
532
00:41:32,280 --> 00:41:35,560
PALMSTIERNA-WEISS (IN SWEDISH):
I'm not a therapist or psychoanalyst.
533
00:41:35,640 --> 00:41:41,360
I have the greatest of understandings
for his anxiety.
534
00:41:41,440 --> 00:41:47,520
Anxiety is part of that European way
of making art.
535
00:41:47,600 --> 00:41:49,280
(SHE CRIES OUT)
536
00:41:50,960 --> 00:41:56,240
(IN SWEDISH): I can't. I just can't!
I have so much angst.
537
00:41:58,800 --> 00:42:01,080
NARRATOR: With time, though, he improves.
538
00:42:01,200 --> 00:42:02,920
Back to 1957 -
539
00:42:03,000 --> 00:42:05,080
Bergman's most productive year.
540
00:42:05,200 --> 00:42:08,160
After The Seventh Seal
opens in February,
541
00:42:08,240 --> 00:42:13,640
the opening of the mega production
Peer Gynt at Malmö City Theatre
542
00:42:13,720 --> 00:42:17,000
is only three weeks away.
543
00:42:21,840 --> 00:42:22,680
(BAG POPS)
544
00:42:22,760 --> 00:42:25,320
THE BIGGEST DRAMATIC PRODUCTION EVER
545
00:42:30,640 --> 00:42:34,760
STRÖMGREN (IN SWEDISH):
It wasn't a rehearsal, it was worship.
546
00:42:34,840 --> 00:42:39,680
The atmosphere was palpable.
The air vibrated...
547
00:42:39,760 --> 00:42:42,760
There was structure, a system and rules.
548
00:42:42,840 --> 00:42:47,000
He worked and directed
according to a rhythm.
549
00:42:47,080 --> 00:42:51,160
The practical work...
Everything had a rhythm.
550
00:42:51,240 --> 00:42:56,240
Ingmar was obviously
talented as hell and very good,
551
00:42:56,320 --> 00:43:01,800
and he'd decided to get
what he wanted, at any cost.
552
00:43:01,880 --> 00:43:06,520
BERGMAN (IN SWEDISH): There is something odd
about the fact that I constantly produce
553
00:43:06,600 --> 00:43:12,160
and I am always on the verge of starting
a new film, a new play or something.
554
00:43:12,240 --> 00:43:15,960
That means that
the now is all that exists.
555
00:43:16,040 --> 00:43:22,880
If I've finished a film, it's gone.
The same goes for a play...
556
00:43:25,000 --> 00:43:28,400
STRÖMGREN (IN SWEDISH):
He may not have been world-famous,
557
00:43:28,440 --> 00:43:30,600
but he was the one in the theatre world.
558
00:43:30,680 --> 00:43:34,000
BERGMAN DIRECTING (IN SWEDISH):
And then, there's the two of you.
559
00:43:34,040 --> 00:43:36,520
You're meant to be over here.
560
00:43:36,600 --> 00:43:39,080
Let's put you over here. Right...
561
00:43:40,160 --> 00:43:42,960
PETTERSSON (IN SWEDISH):
While Bergman worked there,
562
00:43:43,040 --> 00:43:49,880
there was a huge sign over the entrance
into the main theatre.
563
00:43:49,960 --> 00:43:53,240
STRÖMGREN (IN SWEDISH):
It read, in several languages:
564
00:43:53,320 --> 00:43:57,640
- PETTERSSON: Håll käften!
- STRÖMGREN: Halten Sie den Mund! Shut up!
565
00:43:57,720 --> 00:44:00,720
PETTERSSON (IN SWEDISH):
People didn't even dare sneeze!
566
00:44:00,800 --> 00:44:02,640
BERGMAN (IN SWEDISH):
What's that bloody speaker?
567
00:44:02,720 --> 00:44:05,120
How the hell can you put it there?
568
00:44:05,200 --> 00:44:07,040
Quiet!
569
00:44:07,120 --> 00:44:09,200
Move that bloody microphone.
570
00:44:09,280 --> 00:44:11,960
Can you just shut up in the corner!
571
00:44:12,040 --> 00:44:15,600
In my headphones,
I hear a constant hissing.
572
00:44:15,680 --> 00:44:18,720
Silence! Hey!
573
00:44:18,800 --> 00:44:21,000
By all means destroy my play.
574
00:44:28,000 --> 00:44:32,360
STRÖMGREN (IN SWEDISH):
His eyes were always half shut.
575
00:44:32,440 --> 00:44:38,640
And sometimes,
he'd do this and turn around...
576
00:44:38,720 --> 00:44:43,600
He'd turn to his side,
look out through the window,
577
00:44:43,680 --> 00:44:48,000
and say something
very clever and very profound.
578
00:44:49,320 --> 00:44:53,600
And then, he'd look back at us.
We'd sit there with our mouths open.
579
00:44:55,480 --> 00:45:00,400
He was always talking about demons,
but he was quite demonic himself.
580
00:45:00,480 --> 00:45:04,240
NARRATOR: Peer Gynt
is considered impossible to stage.
581
00:45:04,320 --> 00:45:06,880
Bergman is pushed to the brink.
582
00:45:06,960 --> 00:45:10,720
His version of the play
is over five hours long.
583
00:45:10,800 --> 00:45:16,240
He has a huge cast, but no one
to confide in apart from his diary.
584
00:45:17,240 --> 00:45:22,360
ACTOR (AS BERGMAN): "At least today's Sunday.
It's been a never-ending rehearsing week".
585
00:45:22,440 --> 00:45:27,320
"You just can't get through it,
no matter what".
586
00:45:27,400 --> 00:45:29,920
"I don't think this will be a good play".
587
00:45:30,000 --> 00:45:35,120
"Sadly, it's because of me.
I wasn't prepared".
588
00:45:35,200 --> 00:45:38,120
"Nor have I kept it together."
589
00:45:38,200 --> 00:45:42,880
(IN SWEDISH): Then, when you got to see
the dress rehearsal of Peer Gynt...
590
00:45:51,760 --> 00:45:55,280
The play was five hours long.
591
00:45:55,360 --> 00:46:01,120
It was so amazing that after those
five hours, my only thought was:
592
00:46:01,200 --> 00:46:07,480
"I need to get a ticket to see it again.
Now!" That's how brilliant it was.
593
00:46:11,040 --> 00:46:14,560
PETTERSSON (IN SWEDISH):
How does he do it? How did he do it?
594
00:46:14,640 --> 00:46:19,320
The dynamics were unparalleled.
It was unbelievable.
595
00:46:21,280 --> 00:46:24,480
STRÖMGREN (IN SWEDISH):
It's hard to put one's finger on.
596
00:46:24,560 --> 00:46:27,080
Sometimes, you can't specify it.
597
00:46:27,160 --> 00:46:30,160
You just feel something come over you.
598
00:46:32,280 --> 00:46:35,960
PETTERSSON (IN SWEDISH):
This is all adventure movies rolled into one.
599
00:46:37,200 --> 00:46:39,040
(AUDIENCE CLAPS AND WHISTLES)
600
00:46:43,440 --> 00:46:44,440
(PROJECTOR CLICKS)
601
00:46:45,840 --> 00:46:51,000
NARRATOR: The next day,
Sweden's leading paper Dagens Nyheter writes:
602
00:46:51,080 --> 00:46:55,360
"All that remains is to urge every
person for whom it is possible..."
603
00:46:55,440 --> 00:46:58,200
"...to travel to Malmö, fast".
604
00:46:58,280 --> 00:47:03,480
"This is currently Sweden's dramatic centre,
and probably that of all Europe."
605
00:47:04,800 --> 00:47:05,640
(PROJECTOR CLICKS)
606
00:47:15,000 --> 00:47:18,560
- (IN SWEDISH): That's better!
- Right.
607
00:47:18,640 --> 00:47:21,880
BERGMAN: There... Okay.
608
00:47:21,960 --> 00:47:25,000
Quiet everywhere.
609
00:47:25,080 --> 00:47:27,280
Silence.
610
00:47:27,360 --> 00:47:29,840
Camera!
611
00:47:29,920 --> 00:47:33,640
146-171, first.
612
00:47:35,760 --> 00:47:38,880
FISCHER (IN SWEDISH):
As a director, he was exciting.
613
00:47:38,920 --> 00:47:41,240
He was curiously enthusiastic himself.
614
00:47:41,320 --> 00:47:44,640
He'd often look at the settings
through the camera.
615
00:47:44,720 --> 00:47:50,720
He'd say: "Stop there.
Advance! Yes, bloody good!"
616
00:47:50,800 --> 00:47:54,320
He'd build the whole experience
in an enthusiastic way.
617
00:47:54,400 --> 00:47:57,080
BERGMAN (IN SWEDISH): Like this...
Then, see, there's the other one.
618
00:47:57,160 --> 00:47:59,920
And then it's down again.
619
00:48:00,800 --> 00:48:03,160
PETTERSSON (IN SWEDISH):
He's totally convincing.
620
00:48:03,240 --> 00:48:04,560
BERGMAN (IN SWEDISH):
Look at her.
621
00:48:04,640 --> 00:48:07,360
PETTERSSON (IN SWEDISH):
I think that's because
622
00:48:07,440 --> 00:48:10,480
he mostly has well thought-through ideas
623
00:48:10,560 --> 00:48:14,680
and he proposes things for a reason.
624
00:48:14,760 --> 00:48:19,880
DEGEN (IN GERMAN): He was unique,
because he gave the actors such scope
625
00:48:19,960 --> 00:48:23,520
to use their own ideas
626
00:48:23,600 --> 00:48:27,840
and also their own intuition.
627
00:48:27,920 --> 00:48:30,320
He watched them with excitement.
628
00:48:31,400 --> 00:48:35,000
He couldn't stand when an actor
629
00:48:35,080 --> 00:48:39,600
would only act
on the director's instructions.
630
00:48:39,680 --> 00:48:43,680
He wanted to see
the actors' own inspiration.
631
00:48:44,680 --> 00:48:48,160
LARSSON (IN SWEDISH): I always felt that
Ingmar was very sensual.
632
00:48:48,240 --> 00:48:53,000
A sensual person
in relation to the artistic work itself.
633
00:48:53,120 --> 00:48:56,120
And he was very physical.
634
00:48:56,200 --> 00:48:59,040
When he worked,
he was an anti-intellectual.
635
00:48:59,120 --> 00:49:02,640
Then, he let go
of any thoughts of the result.
636
00:49:02,720 --> 00:49:05,560
He was 100 per cent present
637
00:49:05,640 --> 00:49:09,880
and had a beautiful way
of touching the actors.
638
00:49:09,960 --> 00:49:14,240
He was totally present. Seductive.
639
00:49:14,320 --> 00:49:18,120
He was sensitive and incredibly caring.
640
00:49:18,200 --> 00:49:21,120
BERGMAN (IN SWEDISH):
What do you want done differently?
641
00:49:21,160 --> 00:49:23,240
ACTOR (IN SWEDISH): Maybe it's my own...
642
00:49:25,480 --> 00:49:28,600
(IN SWEDISH):
He'd put his arm around you and say:
643
00:49:28,680 --> 00:49:32,560
"She walks over, turns,
and there he is... and Goddammit!"
644
00:49:32,640 --> 00:49:37,040
He almost created a kind of...
645
00:49:37,120 --> 00:49:42,840
Instead of wasting too many words,
he'd make some emotional gesture.
646
00:49:42,920 --> 00:49:47,200
If you were attentive,
that would give you a lot.
647
00:49:47,280 --> 00:49:49,960
BERGMAN (IN SWEDISH):
Great! Bloody good!
648
00:49:51,720 --> 00:49:55,000
GOULD: "You're closing your eyes."
649
00:49:55,080 --> 00:50:00,960
He said: "I will never mislead you.
I cannot mislead you.
650
00:50:01,040 --> 00:50:05,480
I need your eyes to be open,
because even if there's nothing there,
651
00:50:05,560 --> 00:50:08,160
that's what the scene is about...
652
00:50:08,240 --> 00:50:12,360
That's the most profound direction
I could ever get.
653
00:50:14,360 --> 00:50:20,160
When I visited Elliott who was
making a picture for Ingmar Bergman,
654
00:50:20,240 --> 00:50:23,280
I was fascinated
and watched for several days,
655
00:50:23,800 --> 00:50:26,880
thinking how lucky Elliott was.
656
00:50:26,960 --> 00:50:31,760
There was Ingmar Bergman
on his knees below Elliott.
657
00:50:31,880 --> 00:50:34,160
The camera was on Elliott's close-up
658
00:50:34,960 --> 00:50:38,040
and Ingmar was talking him
through a scene.
659
00:50:38,120 --> 00:50:41,880
Because I was such an admirer,
I remember feeling...
660
00:50:43,280 --> 00:50:48,600
jealous of Elliott, that he was having
such a brilliant director guide him.
661
00:50:54,080 --> 00:50:59,080
NARRATOR: There is no limit to what Bergman
will do to get the best out of his actors.
662
00:50:59,160 --> 00:51:01,160
During the filming of Winter Light,
663
00:51:01,240 --> 00:51:05,400
Bergman feels the main character,
Gunnar Björnstrand, is too happy.
664
00:51:07,680 --> 00:51:10,840
FISCHER (IN SWEDISH):
The way he dealt with that
665
00:51:10,920 --> 00:51:13,680
was to ask his doctor and friend
666
00:51:13,760 --> 00:51:19,040
tell Gunnar that the disease
he was suffering from was quite serious.
667
00:51:19,120 --> 00:51:25,560
Gunnar was put on medication,
and actually became depressed.
668
00:51:25,640 --> 00:51:32,400
Then, he was perfect as a doubting priest
lacking faith in God.
669
00:51:32,480 --> 00:51:35,920
And that, you might feel,
is going a bit far.
670
00:51:39,840 --> 00:51:43,040
(IN SWEDISH): I'm tired of your concern.
671
00:51:43,120 --> 00:51:45,600
Your mother-henning.
672
00:51:45,680 --> 00:51:47,760
Your good advice.
673
00:51:48,840 --> 00:51:52,120
Your pretty candleholders
and tablecloths...
674
00:51:53,280 --> 00:51:55,760
I'm sick of your short-sightedness...
675
00:51:56,960 --> 00:51:59,160
your fumbling hands...
676
00:52:00,200 --> 00:52:03,000
and your anxious way
of showing you care.
677
00:52:06,080 --> 00:52:10,960
You force me to concern myself
with your physical condition,
678
00:52:11,040 --> 00:52:14,520
your troublesome stomach,
your eczema...
679
00:52:15,600 --> 00:52:17,320
and your days.
680
00:52:20,520 --> 00:52:22,840
BERGMAN (IN SWEDISH):
When looking at the footage afterwards,
681
00:52:22,920 --> 00:52:28,600
I notice that the camera
has seen a lot more than I did.
682
00:52:28,680 --> 00:52:32,640
It is such a phenomenal tool
683
00:52:32,720 --> 00:52:37,320
when it comes to
registering the human soul.
684
00:52:37,400 --> 00:52:40,880
The way it reflects in a person's face.
685
00:52:54,120 --> 00:52:59,480
The more familiar I become with film
as my chosen medium of expression,
686
00:52:59,560 --> 00:53:03,800
the more I perceive every film I make
687
00:53:03,880 --> 00:53:09,640
as a way of expressing
memories, experiences, tensions,
688
00:53:09,720 --> 00:53:12,520
situations and forces.
689
00:53:16,320 --> 00:53:18,360
Thanks!
690
00:53:22,040 --> 00:53:25,120
NARRATOR: It is now April 1957.
691
00:53:25,200 --> 00:53:29,720
Only a month after the opening of
Peer Gynt, it's time for another premiere.
692
00:53:29,800 --> 00:53:32,840
Television has only been in Sweden
for one year,
693
00:53:32,920 --> 00:53:38,320
but Bergman has already made his first
TV production, Mr Sleeman Is Coming.
694
00:53:38,440 --> 00:53:40,600
INTERVIEWER (IN SWEDISH):
Do you feel you lose out
695
00:53:40,680 --> 00:53:42,920
because of the more limited scope
of television?
696
00:53:43,000 --> 00:53:48,040
BERGMAN (IN SWEDISH): On the contrary.
The fascinating thing with television
697
00:53:48,120 --> 00:53:51,760
is that I can produce close-ups.
698
00:53:52,400 --> 00:53:59,000
NARRATOR: One day after Mr Sleeman Is Coming,
it's time again: yet another premiere.
699
00:53:59,080 --> 00:54:02,520
PRESENTER (IN SWEDISH): Radio Sweden presents
The Prisoner by Bridget Boland,
700
00:54:02,600 --> 00:54:04,840
directed by Bergman.
701
00:54:04,920 --> 00:54:08,560
BERGMAN (IN SWEDISH):
We were working ceaselessly,
702
00:54:08,640 --> 00:54:12,480
either because we were rehearsing,
703
00:54:12,560 --> 00:54:15,240
or there was another opening night.
704
00:54:15,320 --> 00:54:21,440
Or we might have been preparing
for some performance.
705
00:54:21,520 --> 00:54:24,800
(IN SWEDISH):
It was almost a neurosis of his.
706
00:54:25,880 --> 00:54:31,200
I think that was it. He obsessed
about not being able to stop,
707
00:54:31,280 --> 00:54:34,320
to put his pen down or to stop filming.
708
00:54:34,400 --> 00:54:38,440
PETTERSSON (IN SWEDISH): His time
must have been used extremely carefully,
709
00:54:38,520 --> 00:54:40,600
like something very precious.
710
00:54:40,680 --> 00:54:43,040
(IN SWEDISH):
I can't get the equation to work.
711
00:54:43,120 --> 00:54:48,840
But he paid a price, of course.
712
00:54:51,800 --> 00:54:55,880
NARRATOR: Looking at Bergman's tempo
and focus in 1957,
713
00:54:55,960 --> 00:54:58,040
you wonder if he's on drugs.
714
00:54:59,400 --> 00:55:01,040
The question has been raised.
715
00:55:01,120 --> 00:55:05,520
Have you been curious to see if drugs
make you see things differently?
716
00:55:05,600 --> 00:55:07,920
You are so interested in visual things.
717
00:55:08,000 --> 00:55:14,480
No, I... I don't use sleeping pills.
718
00:55:14,560 --> 00:55:19,480
And drugs even less,
because it would scare me to death.
719
00:55:19,560 --> 00:55:23,760
EKMAN (IN SWEDISH):
He supposedly tried alcohol in his youth,
720
00:55:23,840 --> 00:55:27,040
but that didn't
strike a chord with Bergman.
721
00:55:27,120 --> 00:55:30,880
Apparently, he behaved
very strangely and violently.
722
00:55:33,520 --> 00:55:36,960
LINDBLOM (IN SWEDISH):
He only ever ate Swedish yoghurt.
723
00:55:37,000 --> 00:55:39,280
When others had lunch, he had yoghurt.
724
00:55:40,400 --> 00:55:46,040
(IN GERMAN): After three hours,
he took a break and went up to his room...
725
00:55:47,480 --> 00:55:50,480
where he had his Swedish yoghurt.
726
00:55:52,720 --> 00:55:56,000
NARRATOR: But Swedish yoghurt
isn't Bergman's only addiction.
727
00:55:56,520 --> 00:55:57,840
(CAMERA CLICKS)
728
00:56:00,000 --> 00:56:05,760
EKMAN (IN SWEDISH): He had his special diet
and his dry Marie biscuits.
729
00:56:07,760 --> 00:56:12,320
SVENSSON (IN SWEDISH): He had a special table
where he had his script,
730
00:56:12,400 --> 00:56:19,800
and the Marie biscuits he kept eating
on account of his irritable stomach.
731
00:56:19,920 --> 00:56:22,080
(IN SWEDISH): When he'd gone outside,
732
00:56:22,160 --> 00:56:26,840
it was tempting to take a biscuit
to see if he noticed.
733
00:56:26,920 --> 00:56:28,280
DO NOT TOUCH
734
00:56:28,360 --> 00:56:31,800
FISCHER (IN SWEDISH): He was a control freak
and knew what was what.
735
00:56:31,880 --> 00:56:36,320
Not many people dared
to take one of his biscuits.
736
00:56:36,400 --> 00:56:42,080
Once, an actor showed off by taking
a biscuit and Bergman never noticed.
737
00:56:42,160 --> 00:56:46,520
So, someone from the team went
to take one, too, but he put it back.
738
00:56:46,600 --> 00:56:51,760
"Shit, there may be consequences
if I pinch this biscuit."
739
00:56:58,360 --> 00:57:01,720
ENDRE (IN SWEDISH):
We all waited until he'd had a biscuit.
740
00:57:01,800 --> 00:57:06,480
He didn't have the top one,
in case someone had touched it.
741
00:57:06,560 --> 00:57:11,600
Instead, he'd fiddle out
one from underneath.
742
00:57:11,680 --> 00:57:17,320
It wasn't Max who took that biscuit.
Stig Järrel, perhaps? No, no names...
743
00:57:26,920 --> 00:57:29,480
RICHARDSON (IN SWEDISH):
To think he wasn't undernourished,
744
00:57:29,560 --> 00:57:31,400
and that he had such stamina.
745
00:57:31,480 --> 00:57:37,880
I don't think he ever ate vegetables.
He spoke very negatively about veg.
746
00:57:37,960 --> 00:57:42,560
Kind of as if vegetables
were something of a threat.
747
00:57:42,640 --> 00:57:44,640
Something to watch out for.
748
00:57:44,720 --> 00:57:50,640
It was... I think he
must have had an eating disorder.
749
00:57:50,720 --> 00:57:55,960
Before anyone knew of the concept
of eating disorders, he had one.
750
00:58:10,800 --> 00:58:12,800
(IN SWEDISH): Time for a coffee break.
751
00:58:14,960 --> 00:58:17,520
- Coffee break!
- Okay.
752
00:58:18,640 --> 00:58:20,080
Coffee!
753
00:58:23,160 --> 00:58:28,720
BERGMAN (IN SWEDISH): I had stomach
and intestinal ulcers all the time.
754
00:58:28,800 --> 00:58:35,680
I was admitted to hospital,
was patched up and sat there and wrote.
755
00:58:39,720 --> 00:58:44,160
ACTOR (AS BERGMAN): "Sofiahemmet Hospital.
Tired on the verge of lunacy".
756
00:58:44,240 --> 00:58:50,240
"But it's peaceful here, and I'm grateful
to Sture who's fitted me in".
757
00:58:50,320 --> 00:58:54,600
"This is the only way of finding
harmony and a structure..."
758
00:58:54,680 --> 00:58:57,280
"...and being able to produce
something decent".
759
00:58:58,200 --> 00:59:00,240
(IN SWEDISH): Ingmar could produce a film...
760
00:59:00,320 --> 00:59:05,680
He almost wrote one
at the end of the shooting of the film
761
00:59:05,760 --> 00:59:09,680
when his stomach problems
got him into hospital
762
00:59:09,760 --> 00:59:14,600
and I had to run back and forth
with scripts for typing.
763
00:59:14,680 --> 00:59:19,600
At the same time, he was preparing for
a repeat performance of Peer Gynt,
764
00:59:19,680 --> 00:59:23,720
which had been on, the previous spring,
765
00:59:23,800 --> 00:59:29,240
and he was also preparing a new play, Faust,
which was opening that autumn.
766
00:59:29,320 --> 00:59:35,920
But as I understand it, while Ingmar
was ill enough to be hospitalised,
767
00:59:36,000 --> 00:59:40,320
he nevertheless managed
to write a new film script.
768
00:59:46,480 --> 00:59:51,200
NARRATOR: In May 1957,
over-stressed and hospitalised,
769
00:59:51,280 --> 00:59:56,960
Bergman, in a matter of weeks,
writes the masterpiece Wild Strawberries:
770
00:59:57,040 --> 01:00:00,680
MALE READS (IN SWEDISH):
"I'm Professor Isak Borg".
771
01:00:00,760 --> 01:00:04,680
"I'm still alive, both
spiritually and physically".
772
01:00:04,760 --> 01:00:06,760
"It's half past three a.m."
773
01:00:06,840 --> 01:00:10,960
FILM AUDIO (IN SWEDISH):
...Isak Borg, and I'm 78 years old.
774
01:00:11,040 --> 01:00:16,320
Tomorrow, I'll be awarded the title of
Doctor Jubilaris in Lund Cathedral.
775
01:00:16,400 --> 01:00:20,200
NARRATOR: Only one month later,
the film shoot begins.
776
01:00:25,080 --> 01:00:28,680
Bergman says he constantly
revisits his childhood,
777
01:00:28,760 --> 01:00:31,400
just as the old man in the film does.
778
01:00:31,480 --> 01:00:36,440
This is Victor Sjöström, the first
Swedish name in cinematic history.
779
01:00:36,520 --> 01:00:40,280
In some way, Sjöström is
an old version of Bergman,
780
01:00:40,360 --> 01:00:43,000
and his character
has Bergman's initials:
781
01:00:43,080 --> 01:00:47,440
Eberhart Isak Borg -
Ernst Ingmar Bergman.
782
01:00:48,720 --> 01:00:49,560
Sara?
783
01:00:52,520 --> 01:00:57,160
(IN SWEDISH):
Sara? This is your cousin Isak.
784
01:00:58,760 --> 01:01:02,200
I've grown a bit old, though...
785
01:01:02,280 --> 01:01:04,560
NARRATOR:
This is when it happens.
786
01:01:04,640 --> 01:01:08,560
Bergman takes a huge leap
and lets someone else play himself,
787
01:01:09,120 --> 01:01:13,040
a leap that seals the fate
of his artistic production.
788
01:01:13,880 --> 01:01:17,840
In Wild Strawberries,
Bergman looks critically at himself,
789
01:01:17,920 --> 01:01:20,960
doesn't hide his shortcomings,
and asks:
790
01:01:21,040 --> 01:01:25,400
"What happens to people who, like him,
neglect everything but their work?"
791
01:01:25,480 --> 01:01:28,720
FILM AUDIO (IN SWEDISH):
...and sadness came over me,
792
01:01:28,760 --> 01:01:31,520
but I soon surfaced from my dreaming.
793
01:01:31,600 --> 01:01:35,640
NARRATOR: In his work book, Bergman writes
the following about his script:
794
01:01:35,720 --> 01:01:39,040
ACTOR (AS BERGMAN):
"I can't say why this film materialised".
795
01:01:39,120 --> 01:01:44,960
"But I know that the important thing is
to use myself both as tree and axe".
796
01:01:45,040 --> 01:01:47,960
"In the end, that's all I have".
797
01:01:49,440 --> 01:01:54,760
EKMAN (IN SWEDISH): He wasn't even 40
when he had the old Victor Sjöström
798
01:01:54,840 --> 01:02:01,360
in Wild Strawberries, returning to
his childhood, his family and all that.
799
01:02:01,440 --> 01:02:06,800
He more or less revises his whole life,
800
01:02:06,880 --> 01:02:11,240
as if he was standing at death's door.
801
01:02:11,320 --> 01:02:15,080
FILM AUDIO (IN SWEDISH):
I dreamt that I, on my morning walk,
802
01:02:15,160 --> 01:02:19,040
had got to a part of town I didn't know
803
01:02:19,120 --> 01:02:23,680
where the streets were empty
and the houses derelict.
804
01:02:23,760 --> 01:02:29,120
WEINSTEIN: What most strikes viewers,
initially, are the nightmare scenes.
805
01:02:29,200 --> 01:02:30,760
(CARRIAGE CREAKS)
806
01:02:34,360 --> 01:02:37,720
Then, of course,
all the logic of a nightmare is that
807
01:02:37,800 --> 01:02:42,080
the top opens
and you see a hand reach out...
808
01:02:51,640 --> 01:02:58,360
Nightmares don't get more grisly.
Like a Stephen King type of terror.
809
01:03:03,120 --> 01:03:08,320
And as I've got older, it's occurred to me
that what's being told to us,
810
01:03:08,400 --> 01:03:09,880
but not yet to him,
811
01:03:09,960 --> 01:03:13,960
is that perhaps he is dead,
and perhaps he has been dead all along.
812
01:03:14,040 --> 01:03:17,640
And that's the grim, grisly
unbearable news of the film.
813
01:03:25,000 --> 01:03:27,360
BERGMAN (IN SWEDISH):
We were forever arguing.
814
01:03:27,440 --> 01:03:31,960
I had a latent stomach ulcer,
815
01:03:32,040 --> 01:03:36,160
which started to play up then,
of course.
816
01:03:36,200 --> 01:03:38,560
I was wondering what would happen
817
01:03:38,640 --> 01:03:44,160
if Victor was to say
he was too old and couldn't cope.
818
01:03:44,240 --> 01:03:46,800
But hell, did he cope!
819
01:03:57,920 --> 01:04:01,760
EKMAN (IN SWEDISH):
I remember it as a nice summer.
820
01:04:01,840 --> 01:04:06,520
Young actresses
were sunbathing off scene.
821
01:04:06,600 --> 01:04:08,880
There were common denominators.
822
01:04:08,960 --> 01:04:14,960
You knew that in this hen house,
that hen hadn't always been over there,
823
01:04:15,040 --> 01:04:18,560
and that cockerel hasn't
always had so many feathers...
824
01:04:19,680 --> 01:04:23,360
(IN SWEDISH):
Sometimes, I even think to myself
825
01:04:23,440 --> 01:04:26,320
a significant reason
why I chose the theatre
826
01:04:26,400 --> 01:04:30,320
was to be able to meet girls naturally.
827
01:04:30,400 --> 01:04:36,000
However, that's a somewhat awkward
theory and only a speculation of mine...
828
01:04:36,080 --> 01:04:40,680
NARRATOR: Bergman invites his first wife,
Else, to the shoot of Wild Strawberries.
829
01:04:40,760 --> 01:04:45,360
That's her, on that blanket.
And his first daughter, Lena.
830
01:04:47,880 --> 01:04:51,520
He's also included his lover, Bibi.
831
01:04:51,600 --> 01:04:55,320
Bergman doesn't always
make it easy for himself.
832
01:05:01,760 --> 01:05:07,120
(IN SWEDISH): I have to say that Ingmar
always went for interesting women.
833
01:05:07,200 --> 01:05:12,560
I think these women
have also had a major influence
834
01:05:12,640 --> 01:05:16,760
on the way he looked at film and art.
835
01:05:16,840 --> 01:05:22,120
That involves mutual giving and taking.
836
01:05:23,200 --> 01:05:25,600
NARRATOR: Bergman almost always
had relationships
837
01:05:25,720 --> 01:05:28,720
with women who worked beneath him somehow.
838
01:05:28,800 --> 01:05:32,400
His first wife, Else Fisher,
was his choreographer,
839
01:05:32,480 --> 01:05:36,120
as was his second wife,
Ellen Strömholm.
840
01:05:40,960 --> 01:05:44,400
Ingmar Bergman's love life is a mess,
to say the least.
841
01:05:44,480 --> 01:05:47,960
And in 1957, it gets messier still.
842
01:05:49,280 --> 01:05:53,680
(IN SWEDISH):
Yes, but I thought Harriet came...
843
01:05:53,720 --> 01:05:56,160
INTERVIEWER (IN SWEDISH):
First Harriet, then Bibi.
844
01:05:56,240 --> 01:06:00,440
Yes, but Gun Grut first,
and then Harriet, wasn't it?
845
01:06:00,520 --> 01:06:05,000
(IN SWEDISH): I can't remember
who he was with at that time.
846
01:06:05,080 --> 01:06:08,320
Maybe it was Bibi? I don't know!
847
01:06:08,400 --> 01:06:12,920
NARRATOR: Ingmar Bergman is seeing
Bibi Andersson in 1957.
848
01:06:13,000 --> 01:06:16,360
Harriet Andersson
was the year before that.
849
01:06:16,440 --> 01:06:21,360
This year, '57, he will also meet
his wife-to-be, Käbi Laretei,
850
01:06:21,440 --> 01:06:26,680
and will also start seeing Ingrid von Rosen,
who'll be his wife after that.
851
01:06:26,760 --> 01:06:29,280
All the while
being married to Gun Grut.
852
01:06:29,360 --> 01:06:36,720
(IN SWEDISH) I was in Stockholm
and I'd fallen in love with a girl.
853
01:06:36,800 --> 01:06:38,720
Her name was Gun.
854
01:06:48,040 --> 01:06:51,360
- Here she is.
- Yes...
855
01:06:52,440 --> 01:06:55,880
FANT (IN SWEDISH): When I saw her
the first time with Ingmar,
856
01:06:55,960 --> 01:07:00,640
I was reminded of his words
at the Råsunda Film Studios:
857
01:07:00,720 --> 01:07:04,640
She was Battleship Femininity.
858
01:07:04,720 --> 01:07:11,280
He kind of fell for her
hook, line and sinker.
859
01:07:11,360 --> 01:07:15,880
NARRATOR: Gun Grut inspired
more Bergman characters than anyone else,
860
01:07:16,000 --> 01:07:18,480
maybe because she is the most deceived.
861
01:07:18,560 --> 01:07:20,960
Maybe Bergman's films
are confessional?
862
01:07:21,040 --> 01:07:23,880
(IN SWEDISH):
And I'm making art out of your art,
863
01:07:23,960 --> 01:07:28,440
your immortality, your boastfulness
and your stupid, intolerable virility.
864
01:07:28,520 --> 01:07:31,120
So there!
865
01:07:31,200 --> 01:07:36,800
- My young wife said you were around 50.
- The little witch!
866
01:07:36,880 --> 01:07:40,520
- You're creating an opera overture.
- Have you been unfaithful?
867
01:07:40,600 --> 01:07:42,560
Indeed.
868
01:07:44,680 --> 01:07:47,520
NARRATOR:
Bergman remembers Gun Grut years later.
869
01:07:47,600 --> 01:07:52,040
He writes Faithless, about how
Bergman and Grut betray their families
870
01:07:52,120 --> 01:07:55,560
and escape to Paris together
in the late 1940s.
871
01:07:55,640 --> 01:07:59,040
And about their violent
and unhappy love story.
872
01:07:59,120 --> 01:08:05,360
FILM AUDIO (IN SWEDISH):
David asks funny, kind of informed questions.
873
01:08:05,440 --> 01:08:06,640
And we laugh...
874
01:08:08,400 --> 01:08:14,240
That night, after our meal...
We had drunk more than normal...
875
01:08:14,320 --> 01:08:16,800
That evening, all hell breaks loose.
876
01:08:18,920 --> 01:08:24,920
What are you doing?
Have you gone mad? Let me go! David!
877
01:08:25,000 --> 01:08:27,040
What the... Stop it, David!
878
01:08:28,120 --> 01:08:30,800
I told you to stop!
879
01:08:30,880 --> 01:08:35,440
You're bloody insane!
Let go of me! Stop!
880
01:08:35,520 --> 01:08:40,640
I knew about the story with Gun
and found it horrible.
881
01:08:42,160 --> 01:08:46,560
So I asked if we couldn't
change it so he was forgiven,
882
01:08:46,640 --> 01:08:49,400
or have him ask for forgiveness,
883
01:08:49,480 --> 01:08:54,360
but he refused and said that nothing
could be changed - nothing at all.
884
01:09:02,880 --> 01:09:09,840
(IN SWEDISH): I had a flat, you know,
with some bits of furniture in it.
885
01:09:09,920 --> 01:09:14,280
And I got married quite a lot,
886
01:09:14,360 --> 01:09:18,200
and then, that was meant to be
some kind of home.
887
01:09:18,280 --> 01:09:25,600
I was never really that interested in
how it was furnished and that...
888
01:09:31,000 --> 01:09:36,480
OSTEN (IN SWEDISH): Spontaneously, I see it
as a wonderful world to inhabit.
889
01:09:36,560 --> 01:09:42,560
Out of the real world.
We're now talking Fassbinder's pace.
890
01:09:42,640 --> 01:09:47,360
Fassbinder was on amphetamine.
Maybe Bergman was on sexuality?
891
01:09:48,760 --> 01:09:52,800
BERGMAN (IN SWEDISH):
For large parts of my life,
892
01:09:52,840 --> 01:09:55,960
this unfaithfulness has been a trauma.
893
01:09:56,040 --> 01:10:01,480
I've been notoriously unfaithful,
both in my love life and in friendships.
894
01:10:02,560 --> 01:10:05,920
LINDBLOM (IN SWEDISH):
And also, my best friends were his...
895
01:10:08,080 --> 01:10:12,880
wives, mistresses or his women
or whatever they were.
896
01:10:14,200 --> 01:10:16,760
LARSSON (IN SWEDISH):
Talk about erotomaniac.
897
01:10:16,840 --> 01:10:24,240
He must have lived in
a testosterone-filled hubris bubble.
898
01:10:33,680 --> 01:10:37,200
NARRATOR: The summer of 1957
is drawing to an end.
899
01:10:37,280 --> 01:10:40,720
At the end of August,
the shoot of Wild Strawberries is over.
900
01:10:40,800 --> 01:10:43,360
Bergman ought to be near a breakdown:
901
01:10:43,440 --> 01:10:48,640
The women, the theatre,
the films, his stomach...
902
01:10:48,720 --> 01:10:51,200
Instead, he takes a break
in Stockholm
903
01:10:51,280 --> 01:10:56,200
and records yet another film,
Brink of Life, set in a delivery ward.
904
01:10:59,720 --> 01:11:03,640
(IN SWEDISH):
Mother... I'm having a baby.
905
01:11:03,720 --> 01:11:06,400
That's why I've been unwell.
906
01:11:06,480 --> 01:11:09,120
I've wanted to get rid of it,
but I can't.
907
01:11:09,640 --> 01:11:12,160
(SHE SCREAMS IN PAIN)
908
01:11:15,400 --> 01:11:18,480
ACTOR (AS BERGMAN): "I recall
the film's medical adviser allowing me..."
909
01:11:18,560 --> 01:11:20,560
"...to be present at a birth".
910
01:11:20,640 --> 01:11:24,360
"It was a shocking,
character-building experience".
911
01:11:24,440 --> 01:11:29,800
"Despite having five children myself,
I'd never witnessed a delivery".
912
01:11:31,680 --> 01:11:32,880
(WOMAN STRAINS)
913
01:11:34,320 --> 01:11:38,840
NARRATOR: Bergman is wrong.
He has six children at the time.
914
01:11:38,920 --> 01:11:43,600
But now when his career is taking off,
he has no time for his family.
915
01:11:47,840 --> 01:11:50,400
EKMAN (IN SWEDISH): These women
in their various stages
916
01:11:50,480 --> 01:11:53,560
were probably all current in Bergman's life.
917
01:11:53,640 --> 01:12:00,440
Either losing a foetus, developing one
or on the way to deliver a baby.
918
01:12:00,520 --> 01:12:03,640
That somewhat bloody situation
919
01:12:03,720 --> 01:12:07,840
was probably very close
to Ingmar's own balls.
920
01:12:07,920 --> 01:12:11,920
Or to his heart.
It all depends on one's angle.
921
01:12:13,720 --> 01:12:18,320
(IN SWEDISH): I felt very guilty until...
922
01:12:20,080 --> 01:12:24,720
I realised that this
bad conscience thing
923
01:12:24,800 --> 01:12:30,720
for something so fundamentally serious
as leaving one's children,
924
01:12:30,800 --> 01:12:33,000
that's sheer coquetry.
925
01:12:33,080 --> 01:12:36,480
It's showing the world
a scrap of suffering
926
01:12:36,560 --> 01:12:40,960
which can never, ever be compared with
the suffering these people must endure.
927
01:12:42,120 --> 01:12:45,480
I've been lazy around my families.
928
01:12:45,560 --> 01:12:49,200
I haven't made any effort whatsoever
around my families.
929
01:12:51,800 --> 01:12:56,600
(IN SWEDISH): Mother actually once
made a comment on Ingmar
930
01:12:56,680 --> 01:13:02,640
that she couldn't see why he needed
to marry all the girls he slept with.
931
01:13:02,720 --> 01:13:06,720
A statement from a long-standing pillar
of the church.
932
01:13:10,480 --> 01:13:13,040
BERGMAN (IN SWEDISH):
I was deeply in love with my mother.
933
01:13:13,120 --> 01:13:17,600
She was very beautiful
and in many ways unattainable.
934
01:13:17,680 --> 01:13:22,520
She changed between
being very cold and very warm,
935
01:13:22,600 --> 01:13:26,400
and she would
reject us children on and off.
936
01:13:26,480 --> 01:13:30,080
You never quite knew what she would do.
937
01:13:30,160 --> 01:13:35,000
But I was very certain of one thing:
I loved her passionately.
938
01:13:35,080 --> 01:13:39,080
That's one of my earliest
childhood memories.
939
01:13:39,160 --> 01:13:43,280
That I had such
strong ties to my mother.
940
01:13:46,360 --> 01:13:50,200
NARRATOR: Bergman's mother has had
a huge presence in his films.
941
01:13:50,280 --> 01:13:53,560
In several major productions
in the 1990s,
942
01:13:53,640 --> 01:13:56,880
Bergman continues to expand
his filmic autobiography
943
01:13:56,960 --> 01:14:01,320
by exploring his parents' relationship
and above all, his mother.
944
01:14:01,400 --> 01:14:05,920
(IN SWEDISH): I've been planning on taking
the children and leaving you for a while.
945
01:14:07,120 --> 01:14:10,520
(IN SWEDISH): You don't like my family.
You want to humiliate my mother!
946
01:14:10,600 --> 01:14:13,960
You want to get even
in a sophisticated way.
947
01:14:14,040 --> 01:14:16,520
You might as well admit it!
948
01:14:19,280 --> 01:14:23,880
BERGMAN (IN SWEDISH): I think that because
one's first relationship with women
949
01:14:23,920 --> 01:14:25,200
was one's mother
950
01:14:25,240 --> 01:14:30,480
and other people's mothers
and missis this and aunty that...
951
01:14:31,480 --> 01:14:35,280
That gave you a very odd idea of women.
952
01:14:35,360 --> 01:14:40,280
We lived with the Victorian ideal
of the woman being the mother
953
01:14:40,360 --> 01:14:43,720
who was unimpeachable
and complete.
954
01:14:43,800 --> 01:14:48,960
And there was also
this total hostility towards sexuality.
955
01:14:49,040 --> 01:14:52,320
That's how I was raised, anyway.
956
01:14:52,400 --> 01:14:55,400
(IN SWEDISH): Go and wait in the room.
957
01:14:58,080 --> 01:15:00,080
We're taking a nap.
958
01:15:01,760 --> 01:15:06,560
(IN SWEDISH): That made women
into something mysterious and risky
959
01:15:06,640 --> 01:15:09,280
having to be studied
960
01:15:09,360 --> 01:15:15,800
and being regarded with enormous
fascination and massive dread.
961
01:15:28,280 --> 01:15:34,600
BERGMAN (IN SWEDISH): Both theatre and film
are undeniably activities
962
01:15:34,680 --> 01:15:37,800
with a very erotic charge.
963
01:15:37,880 --> 01:15:44,120
In those circumstances, it's very easy
for sensual sparks to start flying.
964
01:15:47,880 --> 01:15:52,400
(IN SWEDISH):
He was a researcher into something
965
01:15:52,480 --> 01:15:55,920
which he was very curious about.
966
01:15:56,800 --> 01:16:01,480
He wanted to understand
and allowed it to take up his time.
967
01:16:01,560 --> 01:16:05,320
You can see this in his scripts
968
01:16:05,400 --> 01:16:11,160
as well as in his way of making the most
of actresses and telling their story.
969
01:16:12,680 --> 01:16:15,760
NARRATOR: Bergman's advanced portrait
of women, The Silence
970
01:16:15,840 --> 01:16:19,400
includes elements that
are still challenging today.
971
01:16:19,480 --> 01:16:24,360
The film is censored and much debated
from the very start.
972
01:16:25,960 --> 01:16:30,040
(IN SWEDISH): In my experience,
he had a lot of the female in him.
973
01:16:30,120 --> 01:16:33,960
I felt that he really,
really understood women.
974
01:16:34,040 --> 01:16:37,840
We had huge spectra
and endless colours to play with.
975
01:16:48,440 --> 01:16:53,680
OSTEN (IN SWEDISH) They are very powerful,
but also very full of aggression.
976
01:16:53,760 --> 01:16:59,360
Like in Cries and Whispers,
where she cuts her vagina to shreds.
977
01:16:59,440 --> 01:17:05,200
Still, I'd defend those scenes, because
there's other stuff in there as well.
978
01:17:05,280 --> 01:17:09,560
These women are strong,
intrepid or tender.
979
01:17:10,600 --> 01:17:14,040
He was ambivalent to women, I think,
980
01:17:14,120 --> 01:17:18,680
but what male creator
doesn't feel ambivalent to women?
981
01:17:21,600 --> 01:17:25,920
WEINSTEIN: It's been argued that
in some sense his women characters
982
01:17:26,000 --> 01:17:30,640
became the sounding board
or the screen
983
01:17:30,720 --> 01:17:36,920
on which he could project an imagined
human feeling. Human sensibilities.
984
01:17:38,920 --> 01:17:43,880
ULLMAN (IN SWEDISH): I didn't take any roles
from my female friends and actresses.
985
01:17:43,960 --> 01:17:48,320
No, I took roles from Max von Sydow
and Erland Josephson.
986
01:17:49,040 --> 01:17:53,920
Because otherwise, he'd have written
a film that was about a man,
987
01:17:54,000 --> 01:17:56,720
and not about a woman.
988
01:17:57,800 --> 01:18:02,680
He had something to tell
about this thing: being human.
989
01:18:15,920 --> 01:18:19,120
BERGMAN (IN SWEDISH):
I'm still happy about Persona,
990
01:18:19,160 --> 01:18:22,000
but today I might have made it differently.
991
01:18:23,080 --> 01:18:29,480
But if you always knew what you
were doing, you probably wouldn't do it.
992
01:18:41,960 --> 01:18:46,360
(IN SWEDISH): Persona sprang from
a kind of crisis around truth.
993
01:18:46,440 --> 01:18:52,400
I had to decide what the truth was,
and when we speak the truth.
994
01:18:52,480 --> 01:18:59,440
In the end, it got so difficult that
I felt the only truth was being silent.
995
01:18:59,520 --> 01:19:02,600
But then, taking that one step further,
996
01:19:02,680 --> 01:19:05,840
it became clear that
that was playing a role, too.
997
01:19:05,920 --> 01:19:11,440
It's just another mask,
so I had to find one more level.
998
01:19:11,520 --> 01:19:14,960
NARRATOR:
Even Persona is about Bergman himself.
999
01:19:15,040 --> 01:19:18,120
The women in Persona
are two sides of the director:
1000
01:19:18,200 --> 01:19:22,120
One is silent to avoid lying,
the other one babbles on.
1001
01:19:22,200 --> 01:19:27,040
(IN SWEDISH): The water is cold
after the storm. Too cold to swim.
1002
01:19:29,440 --> 01:19:31,200
Let's not part as enemies.
1003
01:19:32,960 --> 01:19:37,120
WEINSTEIN: We're not very far from what's
happening in a film like Persona,
1004
01:19:37,200 --> 01:19:41,160
where the artist is the person
who makes use of others.
1005
01:19:41,240 --> 01:19:43,040
Studies them and makes use of them.
1006
01:19:43,120 --> 01:19:47,840
I think in some sense,
Bergman is using his actors
1007
01:19:47,920 --> 01:19:52,240
to make visible to us,
to externalise for us,
1008
01:19:52,320 --> 01:19:55,920
things he has to know first-hand,
inside himself.
1009
01:19:56,000 --> 01:19:58,120
(IN SWEDISH): You've used me.
1010
01:19:58,200 --> 01:20:02,200
I don't know for what, but now
I'm not needed so you throw me away.
1011
01:20:02,280 --> 01:20:06,040
BERGMAN (IN SWEDISH):
I actually had the idea for this film
1012
01:20:06,080 --> 01:20:07,800
when I saw a photo of the girls.
1013
01:20:07,880 --> 01:20:11,800
They were sitting
next to one another, sunbathing.
1014
01:20:11,880 --> 01:20:16,200
I thought it was terribly interesting
and would make a good film.
1015
01:20:18,240 --> 01:20:24,640
Persona and Cries and Whispers
are the two films I single out.
1016
01:20:24,720 --> 01:20:28,840
I can't go any further than that.
1017
01:20:30,080 --> 01:20:31,680
(FIRE ROARS)
1018
01:20:34,160 --> 01:20:38,680
NARRATOR: During the filming of Persona,
Bergman was married to Käbi Laretei,
1019
01:20:38,760 --> 01:20:41,960
but he and Liv Ullmann become a couple.
1020
01:20:43,400 --> 01:20:47,480
ULLMAN (IN SWEDISH): When Ingmar was just
Ingmar in his everyday life,
1021
01:20:47,560 --> 01:20:51,880
he was the most normal, everyday man
you could possibly live with.
1022
01:20:53,800 --> 01:20:58,760
Only when he was Ingmar Bergman
did he have his rules.
1023
01:20:58,840 --> 01:21:02,200
"Don't come into my office
when I'm creating".
1024
01:21:02,280 --> 01:21:05,200
"When the door is closed, it's closed".
1025
01:21:05,280 --> 01:21:09,240
"I need to have breakfast alone.
I'm creating".
1026
01:21:10,760 --> 01:21:14,080
He loved things like television,
1027
01:21:14,160 --> 01:21:19,320
like The Forsythe Saga
and different series, which he loved.
1028
01:21:19,400 --> 01:21:21,400
We went for walks.
1029
01:21:21,480 --> 01:21:27,240
We took the ferry to the mainland
and bought the evening papers.
1030
01:21:27,320 --> 01:21:30,800
We did simple things.
1031
01:21:30,880 --> 01:21:37,480
We talked a lot in our bed,
which looked out onto the sea.
1032
01:21:37,560 --> 01:21:42,960
Everything we'd ever dreamed about
and hadn't dared tell anyone else,
1033
01:21:43,040 --> 01:21:46,560
that's what we talked about
and fantasized about.
1034
01:21:46,640 --> 01:21:53,040
Silly, childish things like there'd be
pirates coming over from Russia
1035
01:21:53,120 --> 01:21:56,280
to attack us.
1036
01:21:56,360 --> 01:21:59,480
And ghost stories!
1037
01:22:00,640 --> 01:22:05,800
We told those in bed.
He was a master of ghost stories.
1038
01:22:14,400 --> 01:22:18,000
He was the best...
1039
01:22:18,080 --> 01:22:24,600
The very best friend I've ever had.
1040
01:22:24,680 --> 01:22:28,440
He's never, ever done...
1041
01:22:29,520 --> 01:22:32,680
anything to me. Ever.
1042
01:22:32,760 --> 01:22:35,440
That's one thing I know.
1043
01:22:38,120 --> 01:22:39,200
(SHE SNIFFS)
1044
01:22:43,440 --> 01:22:48,520
BERGMAN: If you have made a picture
and some million people have seen it,
1045
01:22:48,600 --> 01:22:51,760
and one or two people feel better,
1046
01:22:51,840 --> 01:22:57,800
or get a new light over the landscape
of their souls, it is not useless.
1047
01:23:00,680 --> 01:23:02,600
(BIRDS TWEET ON FILM)
1048
01:23:05,280 --> 01:23:06,760
(LEAVES RUSTLE)
1049
01:23:12,880 --> 01:23:17,880
BERGMAN (IN SWEDISH): I have always seen
filmmaking as an amazing opportunity
1050
01:23:17,920 --> 01:23:19,760
to go beyond the limits.
1051
01:23:19,840 --> 01:23:25,200
To stick my hand
through the membrane of reality,
1052
01:23:25,280 --> 01:23:27,840
to reach other worlds,
1053
01:23:27,920 --> 01:23:32,840
to concentrate events and tensions.
1054
01:23:34,840 --> 01:23:40,240
What, in my view, makes film
so mysterious and extraordinary
1055
01:23:40,320 --> 01:23:45,880
is the fact that it bypasses
the intellect and speaks directly,
1056
01:23:45,960 --> 01:23:47,720
which also makes it dangerous.
1057
01:23:47,800 --> 01:23:52,920
It speaks directly to your consciousness
and subconsciousness.
1058
01:24:00,320 --> 01:24:02,920
- (IN SWEDISH): Should we do it now?
- No, let's move on.
1059
01:24:03,000 --> 01:24:05,000
(MACHINE CLICKS AND WHIRS)
1060
01:24:06,040 --> 01:24:08,240
Exactly there. And forwards...
1061
01:24:09,480 --> 01:24:11,640
There! Now reverse.
1062
01:24:11,720 --> 01:24:16,240
And forwards... Yes! That's it!
1063
01:24:16,320 --> 01:24:21,160
NARRATOR: During the autumn of 1957
Bergman edits Wild Strawberries.
1064
01:24:21,720 --> 01:24:26,640
(IN SWEDISH): Film is something
totally based on rhythm.
1065
01:24:26,720 --> 01:24:31,000
It's all a matter
of breathing and rhythm.
1066
01:24:31,080 --> 01:24:36,000
NARRATOR: On November 16th, the radio
production of Gogol's The Gamblers premieres.
1067
01:24:36,080 --> 01:24:38,640
REPORTER (IN SWEDISH):
Radio Sweden performed Falskspelaren,
1068
01:24:38,720 --> 01:24:40,440
directed by Ingmar Bergman.
1069
01:24:40,520 --> 01:24:43,600
NARRATOR: One month later,
Moliere's The Misanthrope
1070
01:24:43,680 --> 01:24:46,400
opens at Malmö City Theatre.
1071
01:24:48,040 --> 01:24:54,000
BERGMAN (IN SWEDISH): That was the best time
of my life from a theatrical point of view,
1072
01:24:54,080 --> 01:24:57,320
because no one interfered in my work
1073
01:24:57,400 --> 01:25:02,040
and I had one of Sweden's best casts.
1074
01:25:02,120 --> 01:25:05,440
It was an absolutely amazing time.
1075
01:25:06,440 --> 01:25:12,000
NARRATOR: When Bergman stages The Misanthrope
in 1957, it is all smooth and easy.
1076
01:25:12,080 --> 01:25:16,480
He works with his favourite actors
and fills the house.
1077
01:25:16,560 --> 01:25:20,800
When Bergman wants to revisit
the positive atmosphere 40 years later,
1078
01:25:20,880 --> 01:25:24,960
by staging the same play in Stockholm,
things are not the same.
1079
01:25:25,040 --> 01:25:27,640
Times are different,
the actors are young,
1080
01:25:27,720 --> 01:25:32,280
Bergman is old
and has become inexplicably powerful.
1081
01:25:35,920 --> 01:25:37,000
REPORTER (IN SWEDISH):
...tax raid in Stockholm,
1082
01:25:37,080 --> 01:25:39,520
possibly the biggest ever made...
1083
01:25:39,600 --> 01:25:42,760
...against a director and a few actors.
1084
01:25:42,840 --> 01:25:46,320
NARRATOR: In the 1970s,
Bergman is accused of tax fraud.
1085
01:25:46,400 --> 01:25:49,040
He has an offshore company
in Switzerland
1086
01:25:49,120 --> 01:25:51,920
but the investigation is closed down.
1087
01:25:52,000 --> 01:25:57,320
Nevertheless, Bergman feels publicly
humiliated and leaves Sweden, enraged.
1088
01:25:57,400 --> 01:26:01,960
PRESS MAN: Can I talk about the day
you were taken in to be questioned?
1089
01:26:02,040 --> 01:26:04,120
I was completely confused.
1090
01:26:05,160 --> 01:26:10,280
Two days after,
the depression was a fact.
1091
01:26:10,360 --> 01:26:13,600
PRESS MAN: They insulted you
and treated you like a criminal?
1092
01:26:18,880 --> 01:26:20,680
NARRATOR: He settles in Germany,
1093
01:26:20,760 --> 01:26:23,080
but is still angry
with the Swedish authorities.
1094
01:26:24,480 --> 01:26:29,320
(IN GERMAN): You see, I cannot work,
nor consequently live,
1095
01:26:29,400 --> 01:26:34,680
in a country where
the bureaucratic representatives
1096
01:26:34,760 --> 01:26:39,640
have publicly and groundlessly insulted
me and called my honour into question.
1097
01:26:39,720 --> 01:26:43,800
NARRATOR: The experience is traumatic,
both for Bergman and Sweden.
1098
01:26:43,880 --> 01:26:46,400
(IN SWEDISH): We miss you here.
1099
01:26:46,480 --> 01:26:51,640
Your natural workplace is Sweden:
Fårö and Stockholm.
1100
01:26:51,720 --> 01:26:54,400
We would love you to come back.
1101
01:26:54,480 --> 01:26:57,720
NARRATOR: When Bergman returns to Sweden
in the early 1980s,
1102
01:26:57,800 --> 01:27:00,400
a lot of people are feeling guilty.
1103
01:27:00,480 --> 01:27:03,000
Bergman can do as he pleases.
1104
01:27:03,080 --> 01:27:05,720
BERGMAN (IN SWEDISH):
Things are looking very promising.
1105
01:27:05,800 --> 01:27:13,000
There's a wave of well-schooled,
capable, very promising young actors.
1106
01:27:13,080 --> 01:27:16,480
I'm really looking forward
to working with them.
1107
01:27:16,560 --> 01:27:19,120
INTERVIEWER (IN SWEDISH):
Can you already single out some
1108
01:27:19,160 --> 01:27:22,080
that may become Bergman actors?
1109
01:27:23,240 --> 01:27:27,160
They are always around. Definitely.
1110
01:27:27,240 --> 01:27:31,560
- You have your favourites?
- Yes, I permit myself that.
1111
01:27:37,800 --> 01:27:41,040
(IN SWEDISH): Ingmar Bergman was the king.
The emperor.
1112
01:27:41,120 --> 01:27:47,760
Anyone who wanted to act at the best
theatre in the world needed his consent.
1113
01:27:47,840 --> 01:27:50,880
He had to like you.
1114
01:27:52,040 --> 01:27:53,880
BERGMAN (IN SWEDISH): Sit down!
1115
01:27:56,480 --> 01:28:03,280
(IN SWEDISH): The overall atmosphere
was tense because Bergman was there.
1116
01:28:03,360 --> 01:28:09,640
When Bergman rehearsed,
you didn't make a noise. You tip-toed.
1117
01:28:09,720 --> 01:28:14,800
(IN SWEDISH): When you acted in his play,
you knew if he was in the audience.
1118
01:28:15,640 --> 01:28:18,040
ENDRE (IN SWEDISH):
It was like being put on a silver tray.
1119
01:28:18,120 --> 01:28:22,120
Nothing was allowed to disturb things.
The floor had to be scrubbed.
1120
01:28:22,200 --> 01:28:27,800
Everything had to be perfect so we could
sit in awe about what was about to come.
1121
01:28:28,640 --> 01:28:31,480
LARSSON (IN SWEDISH):
Everyone was basically afraid.
1122
01:28:31,560 --> 01:28:36,520
Afraid of forgetting the right props,
or if a piece of music came in late.
1123
01:28:36,600 --> 01:28:41,040
Then you knew that his wrath
would be almost annihilating.
1124
01:28:41,120 --> 01:28:45,040
- (IN SWEDISH): You just stay here, Ingmar...
- Damn right I will!
1125
01:28:46,320 --> 01:28:51,120
Yes. Yes! Fucking hell...
1126
01:28:51,200 --> 01:28:54,200
- Ingmar...?
- Yes!
1127
01:28:56,120 --> 01:29:00,320
(IN SWEDISH): Every morning before
he entered the rehearsal hall
1128
01:29:00,400 --> 01:29:02,840
the floors were washed, windows opened,
1129
01:29:02,920 --> 01:29:06,360
and his director's desk
had to be in place.
1130
01:29:06,440 --> 01:29:10,360
There had to be silence.
Ventilation systems were shut down.
1131
01:29:10,440 --> 01:29:11,720
(MACHINES CLUNK)
1132
01:29:12,680 --> 01:29:18,000
Not one noise. And all that made
you think he was immensely serious.
1133
01:29:19,440 --> 01:29:24,760
But it was also a neurotic power game.
1134
01:29:24,840 --> 01:29:29,040
NARRATOR: Bergman makes some incredible
stage productions, and his power grows.
1135
01:29:29,120 --> 01:29:31,720
He now decides
who gets the leading positions
1136
01:29:31,800 --> 01:29:33,480
at the Swedish Film Institute,
1137
01:29:33,560 --> 01:29:36,800
Swedish National Television
and the Royal Dramatic Theatre.
1138
01:29:36,880 --> 01:29:40,360
And if you dare criticise Bergman,
you will have a major problem.
1139
01:29:40,440 --> 01:29:45,520
(IN SWEDISH): The worst thing of all
was the call from the Dramatic Theatre:
1140
01:29:45,600 --> 01:29:49,840
Now Ingmar Bergman had taken ill
on top of everything else.
1141
01:29:50,760 --> 01:29:53,200
That's your fault.
1142
01:29:53,280 --> 01:29:57,480
Imagine... Imagine if he dies!
1143
01:29:57,560 --> 01:30:00,480
Then, you would be the cause of it.
1144
01:30:01,600 --> 01:30:06,120
BERGGREN (IN SWEDISH): Ingmar is like
Santa Claus, handing out the presents.
1145
01:30:06,200 --> 01:30:09,800
By opposing some,
rejecting some, allowing some.
1146
01:30:09,880 --> 01:30:14,960
Because he's always manipulated
and had a finger in every pie.
1147
01:30:16,200 --> 01:30:20,280
No one came or went
unless he was in charge.
1148
01:30:20,360 --> 01:30:24,840
- (IN SWEDISH): Or maybe I should stand by...
- Yes. Yes, exactly.
1149
01:30:24,920 --> 01:30:27,600
- Yes... Ouch!
- Oh dear.
1150
01:30:27,680 --> 01:30:34,000
BERGMAN (IN SWEDISH):
What? Something seized up. Fuck.
1151
01:30:34,080 --> 01:30:36,560
OSTEN (IN SWEDISH):
Everyone was fussing around him.
1152
01:30:36,640 --> 01:30:42,040
This blatant lack of moral courage
built him up as a monument.
1153
01:30:43,400 --> 01:30:47,560
BERGGREN (IN SWEDISH): The arse-licking
that went on was stupendous -
1154
01:30:47,600 --> 01:30:48,960
totally unparalleled.
1155
01:30:49,040 --> 01:30:53,360
Classic schoolyard bullying.
Unsavoury games...
1156
01:30:53,440 --> 01:30:55,120
And everyone knew
1157
01:30:55,200 --> 01:31:00,400
that acting in a Bergman film opened
doors to a career abroad and everything.
1158
01:31:04,680 --> 01:31:08,280
PERSBRANDT (IN SWEDISH):
I felt that he's a fucking predator.
1159
01:31:08,360 --> 01:31:11,080
He's a carnivore, Ingmar.
1160
01:31:11,160 --> 01:31:14,800
So I decided to take no shit.
1161
01:31:14,880 --> 01:31:18,200
I was dead scared of
not knowing my lines.
1162
01:31:18,240 --> 01:31:20,680
I didn't want to give him that.
1163
01:31:20,760 --> 01:31:23,760
And when I got to my monologue,
he said:
1164
01:31:23,840 --> 01:31:30,000
"Hey, Dickey-Micky,
I shortened this bloody thing a bit".
1165
01:31:30,080 --> 01:31:32,800
"There was a hell of a lot of nonsense".
1166
01:31:32,880 --> 01:31:39,480
- "What do you want me to do?"
- "Come forth, do your slur and leave".
1167
01:31:39,560 --> 01:31:42,760
"Slur? You mean my monologue?"
1168
01:31:42,840 --> 01:31:47,800
- "Yes. Do you mind?"
- "No, not in the least."
1169
01:31:47,880 --> 01:31:53,120
"Did you all hear?
Mikael doesn't mind my directing".
1170
01:31:59,360 --> 01:32:02,240
NARRATOR: If Bergman has problems
working with people,
1171
01:32:02,320 --> 01:32:06,200
it gets worse
when he's not working with people.
1172
01:32:06,640 --> 01:32:07,720
(CAT MEOWS)
1173
01:32:07,840 --> 01:32:12,600
FISCHER (IN SWEDISH): You quickly learn that
animals are not easy to shoot,
1174
01:32:12,680 --> 01:32:15,600
but it looks nice with a few animals.
1175
01:32:15,680 --> 01:32:19,680
Bergman didn't often include animals,
apart from the odd cat.
1176
01:32:19,760 --> 01:32:25,360
But cats never do what you want them to,
even if your name's Ingmar Bergman.
1177
01:32:25,440 --> 01:32:28,520
We fed them and tired them out,
1178
01:32:28,600 --> 01:32:31,640
or drugged them lightly,
but they still ran off.
1179
01:32:33,960 --> 01:32:35,080
(HORSE WHINNIES)
1180
01:32:35,160 --> 01:32:36,000
(BUZZER)
1181
01:32:38,160 --> 01:32:39,160
(CAT MEOWS)
1182
01:32:41,440 --> 01:32:42,880
(BUZZER)
1183
01:32:42,960 --> 01:32:46,120
FISCHER (IN SWEDISH):
Maybe he was too boisterous for them.
1184
01:32:46,200 --> 01:32:49,320
BERGMAN (IN SWEDISH):
No! Bloody pussycat!
1185
01:32:49,400 --> 01:32:50,680
(HE CHUCKLES)
1186
01:32:51,160 --> 01:32:53,560
ANDERSSON (IN SWEDISH):
It might have been in Sawdust and Tinsel
1187
01:32:53,640 --> 01:32:55,640
they wanted a bear.
1188
01:32:55,720 --> 01:33:00,800
They'd managed to get a bear
from a zoo or something,
1189
01:33:00,880 --> 01:33:06,240
and at some point, Bergman got really annoyed
at the whole thing
1190
01:33:06,320 --> 01:33:11,280
and said something condescending like:
"Get rid of that bloody bear".
1191
01:33:11,360 --> 01:33:14,280
And the owner of the bear took offence,
1192
01:33:14,360 --> 01:33:18,240
and he was a really
stubborn man, that owner.
1193
01:33:18,320 --> 01:33:22,680
He felt his bear
had been unfairly treated.
1194
01:33:22,760 --> 01:33:29,200
And he said that for them to continue,
Bergman had to apologise to the bear.
1195
01:33:31,440 --> 01:33:36,080
Imagine! There's the proud
and self-centred Ingmar Bergman
1196
01:33:36,160 --> 01:33:39,880
having to apologise to a bear
in order to continue.
1197
01:33:41,080 --> 01:33:43,440
- (BEAR GROWLS)
- (AUDIENCE CHEER)
1198
01:33:47,120 --> 01:33:48,360
(BEAR GROWLS)
1199
01:33:51,560 --> 01:33:54,120
NARRATOR: Many have known Bergman's fury.
1200
01:33:54,200 --> 01:33:57,840
He has ruled
the Royal Dramatic Theatre for years.
1201
01:34:00,080 --> 01:34:05,640
And now, it's time for The Misanthrope
for the first time since 1957.
1202
01:34:05,720 --> 01:34:09,840
The lead goes to star actor
and director, Thorsten Flinck.
1203
01:34:09,920 --> 01:34:13,280
FLINCK (IN SWEDISH):
What's this strange world we live in?
1204
01:34:13,360 --> 01:34:16,760
Where openness and talking
is considered misplaced.
1205
01:34:16,840 --> 01:34:21,520
Where anyone
can call anyone their friend.
1206
01:34:23,280 --> 01:34:25,120
(BROODING MUSIC)
1207
01:34:29,120 --> 01:34:34,000
HAAG (IN SWEDISH): Thorsten Flinck was
the next major up-and-coming director genius.
1208
01:34:34,080 --> 01:34:38,760
And Ingmar Bergman
was at the end of his career.
1209
01:34:38,840 --> 01:34:43,800
And Thorsten was... hot as anything.
1210
01:34:43,880 --> 01:34:46,920
FLINCK (IN SWEDISH):
There won't be a realistic setting.
1211
01:34:47,000 --> 01:34:50,760
We won't be playing
in a classroom with a blackboard.
1212
01:34:50,840 --> 01:34:56,480
Nope. We'll be playing behind bars.
In a cage.
1213
01:34:57,800 --> 01:35:01,560
PYK (IN SWEDISH):
Thorsten Flinck definitely had
1214
01:35:01,640 --> 01:35:05,560
an aura of someone
who'll make a difference
1215
01:35:05,640 --> 01:35:08,680
and who's exceptionally talented.
1216
01:35:08,760 --> 01:35:10,960
Both as an actor and a director.
1217
01:35:13,560 --> 01:35:17,240
OSTEN (IN SWEDISH): If someone feels
threatened by someone else's talent,
1218
01:35:17,280 --> 01:35:18,240
they like to...
1219
01:35:19,080 --> 01:35:21,520
to form their own judgement.
1220
01:35:21,600 --> 01:35:25,760
It was like Ingmar wanted to
sweep the yard clean.
1221
01:35:25,840 --> 01:35:28,120
PYK (IN SWEDISH):
When we rehearsed The Misanthrope,
1222
01:35:28,200 --> 01:35:31,960
Ingmar's wife was very ill.
1223
01:35:32,040 --> 01:35:35,640
He knew she wouldn't make it.
1224
01:35:35,720 --> 01:35:38,640
It was a distinctive phase in his life.
1225
01:35:43,800 --> 01:35:46,960
NARRATOR: Ingrid von Rosen,
Bergman's fifth wife,
1226
01:35:47,040 --> 01:35:49,520
is the big love of his life.
1227
01:35:49,600 --> 01:35:53,320
They have been married 25 years
and Bergman is devastated.
1228
01:35:55,640 --> 01:36:00,480
For the first time in his long career,
Bergman is unable to focus completely.
1229
01:36:00,600 --> 01:36:02,480
(IN SWEDISH): He wasn't quite there.
1230
01:36:02,520 --> 01:36:07,440
He was on strong medication
and was extremely unhappy.
1231
01:36:14,280 --> 01:36:18,240
NARRATOR: The Misanthrope opens and runs,
sold out, for a year,
1232
01:36:18,320 --> 01:36:20,440
but Bergman doesn't check on his play.
1233
01:36:20,520 --> 01:36:22,560
He is sad and stays at home.
1234
01:36:23,840 --> 01:36:28,240
PYK (IN SWEDISH): He really washed his hands
of that performance.
1235
01:36:28,320 --> 01:36:32,320
This much later, I can't say
how much it had slid off target
1236
01:36:32,400 --> 01:36:36,520
but I'm sure Thorsten experimented
with the scenery and things.
1237
01:36:37,320 --> 01:36:39,880
NARRATOR: Bergman hasn't seen his play
for a while,
1238
01:36:39,960 --> 01:36:44,960
but comes to see the last performance
before the play is due for New York.
1239
01:36:46,160 --> 01:36:50,080
EKMANNER (IN SWEDISH): I actually think
that Ingmar had a shock.
1240
01:36:50,160 --> 01:36:55,640
It suddenly became obvious to him
that he, himself,
1241
01:36:55,720 --> 01:37:01,880
was guilty of an effort
that left a lot to be desired.
1242
01:37:03,040 --> 01:37:08,160
And he was clearly unable
to accept that responsibility.
1243
01:37:08,240 --> 01:37:09,320
(APPLAUSE)
1244
01:37:10,440 --> 01:37:15,440
HAAG (IN SWEDISH): People entered and someone
asked Bergman if he was coming too.
1245
01:37:15,520 --> 01:37:20,880
"No, not me.
Come and sit down. Are you all here?"
1246
01:37:21,840 --> 01:37:25,440
FLINCK (IN SWEDISH): Everyone was sitting
around the large oak table,
1247
01:37:25,520 --> 01:37:27,480
and it happened to be my birthday.
1248
01:37:32,640 --> 01:37:37,440
Virtually every seat was taken
by actors and technical assistants.
1249
01:37:39,560 --> 01:37:45,360
The only free seat was the one opposite
the grand master, so I sat there.
1250
01:37:46,560 --> 01:37:49,280
(IN SWEDISH):
Everyone thought it would be
1251
01:37:49,360 --> 01:37:52,880
the usual dry biscuits
and juice with soda water.
1252
01:37:53,840 --> 01:37:57,280
And then, in the weird silence
which I remember
1253
01:37:57,320 --> 01:37:59,800
although it's 25 years ago...
1254
01:38:01,320 --> 01:38:04,920
everything suddenly turns,
1255
01:38:05,000 --> 01:38:09,040
paving the way for something
extremely unpleasant.
1256
01:38:09,120 --> 01:38:11,600
And then, Ingmar speaks:
1257
01:38:11,680 --> 01:38:17,800
"Hey everyone, let's gather round
like one large bloody family".
1258
01:38:17,880 --> 01:38:21,080
"What I have to say
is not much bloody fun".
1259
01:38:22,880 --> 01:38:25,520
"We're not going to New York!"
1260
01:38:25,600 --> 01:38:30,400
(IN SWEDISH): Ingmar went into a total rage.
1261
01:38:30,480 --> 01:38:35,120
"The scenery is off.
There will be no tour".
1262
01:38:35,200 --> 01:38:39,280
"And that's one person's fault.
If you all look... I said look!"
1263
01:38:40,240 --> 01:38:45,080
(IN SWEDISH) He was disappointed in everyone,
but most of all in Thorsten.
1264
01:38:45,160 --> 01:38:51,080
(IN SWEDISH) That was his view of things -
that this was all Thorsten's fault.
1265
01:38:51,160 --> 01:38:55,360
(IN SWEDISH): He was criticised as a person.
In every way.
1266
01:38:55,440 --> 01:38:58,800
(IN SWEDISH): This was among the worst
I've ever experienced
1267
01:38:58,880 --> 01:39:01,120
in terms of psychological torture.
1268
01:39:01,200 --> 01:39:04,240
(IN SWEDISH):
People were totally dumbstruck.
1269
01:39:04,320 --> 01:39:09,480
(IN SWEDISH): Something happened that no one
in that room had been expecting.
1270
01:39:09,560 --> 01:39:11,200
Then, we were told to get out.
1271
01:39:11,280 --> 01:39:16,000
(IN SWEDISH): "But not you. You're staying."
He pointed at me.
1272
01:39:16,080 --> 01:39:19,640
(IN SWEDISH):
And I also had to stay, so we sat there.
1273
01:39:20,600 --> 01:39:24,360
(IN SWEDISH): "You repulsive bastard.
You're so..."
1274
01:39:24,440 --> 01:39:29,320
No, seriously, don't tell me you're
having one more go? But he does.
1275
01:39:29,400 --> 01:39:34,600
(IN SWEDISH): I remember sitting there
feeling nauseous with a churning stomach.
1276
01:39:34,680 --> 01:39:40,200
(IN SWEDISH): "I had to ask Antonia
to go outside and fetch a bucket".
1277
01:39:40,280 --> 01:39:44,440
"My vomiting reflex kicked in
because he's so fucking ugly".
1278
01:39:44,520 --> 01:39:47,680
"Can't you see? And it's all his fault".
1279
01:39:47,760 --> 01:39:49,520
"You've ruined my play".
1280
01:39:55,040 --> 01:39:59,280
HAAG (IN SWEDISH): It was like the last scene
in a Shakespeare play.
1281
01:39:59,360 --> 01:40:05,720
This was the king's power struggle
with the prince, the next director genius.
1282
01:40:07,120 --> 01:40:09,760
(IN SWEDISH): This was not a case of...
1283
01:40:09,840 --> 01:40:14,760
He wasn't trying to make him see
he'd spoilt a play.
1284
01:40:14,800 --> 01:40:16,920
He wanted to crush him.
1285
01:40:20,880 --> 01:40:23,320
It did affect me. Very much.
1286
01:40:40,240 --> 01:40:44,640
NARRATOR: Bergman starts to disengage himself
from the Royal Dramatic Theatre,
1287
01:40:44,720 --> 01:40:47,160
staging only five more productions.
1288
01:40:47,240 --> 01:40:49,800
He escapes the world to Fårö.
1289
01:40:49,880 --> 01:40:52,560
Truth be told,
he's always escaped the world.
1290
01:40:52,640 --> 01:40:58,720
He has escaped wives, escaped children,
escaped his country and competition,
1291
01:40:58,800 --> 01:41:02,920
escaped responsibility,
escaped reality.
1292
01:41:03,000 --> 01:41:05,960
In his films,
he has created a world of his own.
1293
01:41:06,040 --> 01:41:11,360
One where he tells us what it's like
to be the human being Ingmar Bergman.
1294
01:41:11,440 --> 01:41:13,240
(MAN WHISTLES)
1295
01:41:15,480 --> 01:41:18,960
(IN SWEDISH): I can never tell whether
my wife is crying for real or affecting it.
1296
01:41:20,440 --> 01:41:25,280
But now, I wonder if it is for real.
Yes, I think so.
1297
01:41:25,360 --> 01:41:29,280
- Yes, that's what seeing death is like.
- Just shut up.
1298
01:41:33,280 --> 01:41:37,160
LARSSON (IN SWEDISH): There's a limit
to how bad you can behave
1299
01:41:37,240 --> 01:41:40,400
and how heavily you can tread on others.
1300
01:41:41,880 --> 01:41:48,040
But history shows repeatedly
that we forgive the great artists
1301
01:41:48,120 --> 01:41:53,720
a lot when the result is so beautiful
and the films and plays so magnificent.
1302
01:41:53,800 --> 01:41:58,840
Maybe it's even...
But not at the cost of trauma to others.
1303
01:42:01,320 --> 01:42:06,160
But it probably can't be achieved
without that dark, twisted streak.
1304
01:42:18,480 --> 01:42:21,360
NARRATOR: It is now December 1957.
1305
01:42:21,480 --> 01:42:24,040
Wild Strawberries opens on Boxing Day.
1306
01:42:28,000 --> 01:42:32,920
Right now, Bergman is soaring -
but this is only the beginning.
1307
01:42:33,000 --> 01:42:37,200
The artistry that he begins with here
puts Sweden on the map as a country
1308
01:42:37,280 --> 01:42:40,400
and resonates all over the world.
1309
01:42:46,240 --> 01:42:49,440
The unfathomable tempo,
the extreme quality...
1310
01:42:49,520 --> 01:42:52,240
All this starts in 1957.
1311
01:42:53,600 --> 01:42:54,440
(CLAP)
1312
01:42:54,520 --> 01:42:57,360
(IN SWEDISH) Bergman - second take.
1313
01:42:57,440 --> 01:43:00,080
NARRATOR: Bergman films The Magician,
1314
01:43:00,200 --> 01:43:01,720
The Virgin Spring...
1315
01:43:03,760 --> 01:43:05,640
Through a Glass Darkly,
1316
01:43:05,720 --> 01:43:10,240
Winter Light, The Silence, Persona...
1317
01:43:10,320 --> 01:43:13,120
And then, he is unstoppable.
1318
01:43:13,200 --> 01:43:16,080
(IN SWEDISH) I'll never be like you. Never.
I change all the time.
1319
01:43:16,160 --> 01:43:18,280
INGMAR BERGMAN'S
THE SILENCE
1320
01:43:21,520 --> 01:43:25,760
INTERVIEWER (IN SWEDISH): In Cannes, you were
awarded five first prizes in the 1950s.
1321
01:43:25,840 --> 01:43:29,560
You've had two first prizes in Venice
and the Golden Bear in Berlin.
1322
01:43:29,640 --> 01:43:34,480
And you've had two Oscars.
All this in the 1950s.
1323
01:43:34,560 --> 01:43:38,680
And in the 1960s,
awards and medals have kept pouring in.
1324
01:43:38,760 --> 01:43:43,960
You are doubtlessly the most richly
awarded man in the entire film history.
1325
01:43:45,120 --> 01:43:46,560
(APPLAUSE)
1326
01:43:46,640 --> 01:43:51,440
REPORTER (IN SWEDISH): Ingmar Bergman
has won the coveted Oscar film award
1327
01:43:51,520 --> 01:43:52,880
two years running.
1328
01:43:52,960 --> 01:43:57,680
- Did you expect that?
- No, not this time.
1329
01:43:57,760 --> 01:44:00,680
I thought once would be it.
1330
01:44:06,600 --> 01:44:11,920
There's no one like Ingmar Bergman.
An artist. A craftsman.
1331
01:44:12,000 --> 01:44:13,800
A master.
1332
01:44:15,080 --> 01:44:16,520
(ACTORS GIGGLE)
1333
01:44:19,040 --> 01:44:21,600
WEINSTEIN: Bergman is a great mapmaker.
1334
01:44:21,680 --> 01:44:26,160
We talk of the 16th and 17th centuries
when people discovered new continents.
1335
01:44:26,240 --> 01:44:32,080
I think he has that kind of role
as an explorer and a filmmaker.
1336
01:44:32,160 --> 01:44:35,440
He has that kind of
almost colonising ambition.
1337
01:44:35,520 --> 01:44:40,720
To take arenas that have otherwise been
off-limits to us or not available to us.
1338
01:44:40,800 --> 01:44:42,520
Not known to us.
1339
01:44:42,600 --> 01:44:46,000
To bring them to visibility.
Again, that's the project of film.
1340
01:44:48,840 --> 01:44:55,680
BERGMAN (IN SWEDISH) ...that search to find
the journey of a soul
1341
01:44:55,760 --> 01:44:59,480
and try to illustrate that.
1342
01:45:02,680 --> 01:45:05,440
(IN SWEDISH): You were determined
you had neglected me,
1343
01:45:05,480 --> 01:45:07,200
and you were going to make it up to me.
1344
01:45:07,280 --> 01:45:11,280
I defended myself as best I could,
but I was helpless.
1345
01:45:11,360 --> 01:45:15,600
NARRATOR: At the end of the 1960s,
Bergman starts to shoot in colour,
1346
01:45:15,680 --> 01:45:19,640
and keeps making brilliant films
about his life and relationships.
1347
01:45:21,400 --> 01:45:22,640
ACTRESS (IN SWEDISH): There!
1348
01:45:22,720 --> 01:45:25,760
BERGMAN (IN SWEDISH):
Look like you cared for one another.
1349
01:45:25,840 --> 01:45:29,280
Yes, exactly. Freeze that! Great!
1350
01:45:29,360 --> 01:45:33,520
- Thanks, that's me done.
- Are you on for some more?
1351
01:45:33,600 --> 01:45:37,840
(IN SWEDISH): His new assignment
is a great honour, even if he jokes about it.
1352
01:45:37,920 --> 01:45:42,080
He's very successful. Forever. Amen.
1353
01:45:42,160 --> 01:45:44,880
BERGMAN (IN SWEDISH):
What if we keep focusing on him?
1354
01:45:44,960 --> 01:45:49,200
NARRATOR: Then, it's the 1980s,
and he makes his most famous film ever,
1355
01:45:49,280 --> 01:45:51,000
the film about his childhood.
1356
01:45:51,080 --> 01:45:54,600
(IN SWEDISH):
Playback and music! And the chatter.
1357
01:45:54,680 --> 01:45:57,240
Playback, please! Ready?
1358
01:45:59,400 --> 01:46:00,760
You're on!
1359
01:46:00,880 --> 01:46:02,840
(INDISTINCT CHATTER)
1360
01:46:14,000 --> 01:46:19,360
WEINSTEIN: Fanny and Alexander
can rightly be seen as his magnum opus.
1361
01:46:19,440 --> 01:46:21,120
His grandest film.
1362
01:46:24,160 --> 01:46:28,040
BERGMAN (IN SWEDISH):
And then, we'll position the puppet.
1363
01:46:28,120 --> 01:46:32,080
That's the greatest magic there is...
1364
01:46:34,040 --> 01:46:36,080
One, two, three!
1365
01:46:36,160 --> 01:46:37,640
(THEY ALL SCREAM)
1366
01:46:39,120 --> 01:46:40,000
(HE LAUGHS)
1367
01:46:40,080 --> 01:46:43,360
(IN SWEDISH): I think this is one of
my happier films.
1368
01:46:43,440 --> 01:46:49,920
I think I have somehow always
put this film in an up-beat category.
1369
01:46:54,040 --> 01:46:58,560
OSTEN (IN SWEDISH): He tried dodging again,
making an extra lap in an anonymous taxi,
1370
01:46:58,640 --> 01:47:01,400
but was seen and followed.
1371
01:47:01,480 --> 01:47:06,280
He had to get to work, and this time,
no secret doors could help him.
1372
01:47:06,360 --> 01:47:09,960
REPORTER (IN SWEDISH):
First question: How are you feeling?
1373
01:47:10,040 --> 01:47:13,720
(IN SWEDISH): I'm feeling good.
I have a lot to do.
1374
01:47:13,800 --> 01:47:18,920
- What's it like to have won four Oscars?
- I didn't win them. The winners were...
1375
01:47:19,000 --> 01:47:24,200
Sven Nykvist, Anna Asp,
Marik Vos and the film itself.
1376
01:47:24,280 --> 01:47:27,000
It's great. I'm very glad.
1377
01:47:27,080 --> 01:47:31,200
- Do you think...?
- Isn't it tricky, walking backwards?
1378
01:47:32,680 --> 01:47:34,800
- (HE SPEAKS IN FRENCH)
- (CAMERAS CLICK)
1379
01:47:35,960 --> 01:47:37,280
(APPLAUSE)
1380
01:47:41,400 --> 01:47:43,280
(TELEPHONE RINGS)
1381
01:47:43,800 --> 01:47:44,920
BERGMAN (IN SWEDISH):
Hello?
1382
01:47:44,960 --> 01:47:49,600
INTERVIEWER (IN SWEDISH):
Hi, Ingmar. How are you doing?
1383
01:47:49,680 --> 01:47:53,720
I've been down in the Valley of Death.
1384
01:47:53,800 --> 01:47:57,960
- Have you?
- Yes, I've been very bad.
1385
01:47:58,040 --> 01:48:00,120
- Have you?
- Yes.
1386
01:48:06,400 --> 01:48:10,880
BERGMAN (IN SWEDISH)
These days, I basically live on my own.
1387
01:48:10,960 --> 01:48:16,120
All on my own, which suits me very well.
1388
01:48:22,920 --> 01:48:26,960
(IN SWEDISH):
I could see his naked loneliness.
1389
01:48:27,040 --> 01:48:30,080
There was never a lonelier person.
1390
01:48:30,160 --> 01:48:33,600
It felt as if he was
walking around, bleeding.
1391
01:48:36,040 --> 01:48:39,480
Can you give me some human warmth?
1392
01:48:39,560 --> 01:48:44,160
Then he wanted you to stand behind him,
once he'd finished eating,
1393
01:48:44,240 --> 01:48:48,800
and massage his shoulders
for a few minutes or so.
1394
01:48:48,880 --> 01:48:51,240
It was quite touching.
1395
01:48:51,320 --> 01:48:56,760
Then, he'd say after a while,
maybe four minutes or so:
1396
01:48:56,840 --> 01:49:02,840
That's enough human warmth.
You can go now.
1397
01:49:02,920 --> 01:49:04,800
(SOLEMN CELLO MUSIC)
1398
01:49:27,560 --> 01:49:29,360
BERGMAN (IN SWEDISH):
Thanks!
1399
01:49:33,880 --> 01:49:38,480
(IN SWEDISH):
Yes, I think you're completely right.
1400
01:49:38,560 --> 01:49:41,280
He was lonely to the soul.
1401
01:49:42,800 --> 01:49:45,840
There's no alternative to being alone
1402
01:49:45,920 --> 01:49:49,960
if you're to accomplish
as much as Ingmar did.
1403
01:49:50,040 --> 01:49:54,280
There's no time
for a normal family life.
1404
01:49:54,360 --> 01:49:58,080
Nor for a normal circle of friends.
1405
01:50:01,480 --> 01:50:05,960
NARRATOR: In Cannes 1998, Ingmar Bergman
is awarded the Palm of the Palms.
1406
01:50:06,040 --> 01:50:09,840
The jury consists of
the world's greatest directors.
1407
01:50:09,920 --> 01:50:14,200
Today, over 20 years later,
he keeps inspiring.
1408
01:50:15,480 --> 01:50:18,360
(IN SWEDISH): He means everything to me,
that stupid shit.
1409
01:50:19,160 --> 01:50:20,760
But I do love him dearly.
1410
01:50:23,280 --> 01:50:25,960
LANDIS: It's extraordinary for an individual
to have that kind of legacy.
1411
01:50:26,040 --> 01:50:30,920
He may have been a schmuck!
Who knows? But... Man!
1412
01:50:31,000 --> 01:50:35,440
He's left this body of work.
And that's forever!
1413
01:50:35,520 --> 01:50:38,880
HUNTER: He was just so unafraid.
1414
01:50:38,960 --> 01:50:41,440
So unafraid...
1415
01:50:41,520 --> 01:50:46,120
He was putting the camera
at the most intimate angle...
1416
01:50:48,360 --> 01:50:54,440
(IN CHINESE): His time, and all that his
world was facing, created his genius.
1417
01:50:54,520 --> 01:50:57,720
His masterpieces affected all humanity.
1418
01:50:57,800 --> 01:51:00,120
It had to be that way.
1419
01:51:02,000 --> 01:51:05,520
(IN SWEDISH):
I want Ingmar Bergman to be remembered
1420
01:51:05,600 --> 01:51:12,440
as a contributor to film and theatre
of enormous significance.
1421
01:51:14,640 --> 01:51:18,680
He's one of the masters of filmmaking.
1422
01:51:21,440 --> 01:51:27,400
(IN SWEDISH): We'll... We will never again
see an artist as great as that in Sweden.
1423
01:51:28,240 --> 01:51:32,120
Bergman has meant more than Strindberg.
1424
01:51:35,880 --> 01:51:39,760
BERGMAN'S DAUGHTER:
My father has asked me to ask you
1425
01:51:39,840 --> 01:51:44,200
to forgive an old man
for not being here tonight.
1426
01:51:44,640 --> 01:51:48,480
He said: After years and years,
1427
01:51:48,560 --> 01:51:52,320
of playing with
the images of life and death,
1428
01:51:52,400 --> 01:51:56,640
life itself has finally
caught up with me
1429
01:51:56,720 --> 01:52:00,080
and made me shy and silent.
1430
01:52:02,040 --> 01:52:06,280
NARRATOR: So far, Bergman is the only one
to have received this award.
1431
01:52:07,680 --> 01:52:10,080
(IN SWEDISH): But if I get my ears
into the hat...
1432
01:52:11,040 --> 01:52:12,840
(HE LAUGHS)
1433
01:52:12,960 --> 01:52:15,440
- INTERVIEWER (IN SWEDISH): Doctor Bergman...
- Eh...?
1434
01:52:16,840 --> 01:52:23,480
NARRATOR: Ingmar Bergman dies
on July 30th, 2007 at the age of 89.
1435
01:52:23,560 --> 01:52:26,040
This year,
he would have been 100 years old.
1436
01:52:30,800 --> 01:52:37,360
One of the most beautiful close-ups
I have got in my life
1437
01:52:37,440 --> 01:52:42,360
is from the end of this picture.
1438
01:52:42,440 --> 01:52:47,440
He thinks back, suddenly,
on his early youth
1439
01:52:47,520 --> 01:52:54,240
and his first love and his parents,
and there, I have a long close-up.
1440
01:53:05,840 --> 01:53:08,760
That is one of the most beautiful
close-ups I have got in my life.
1441
01:53:14,920 --> 01:53:17,960
NARRATOR: 1957 is at its end.
1442
01:53:18,040 --> 01:53:21,520
Two film openings, two film shoots,
1443
01:53:21,600 --> 01:53:26,240
one film for television
and four plays in one year.
1444
01:53:27,480 --> 01:53:33,720
An inexplicable private life
with four relationships and six children.
1445
01:53:33,800 --> 01:53:37,840
And a narrative approach
that is a new and crucial turn,
1446
01:53:37,920 --> 01:53:42,640
paving the way for a life
full of unprecedented magic in films.
1447
01:53:42,720 --> 01:53:47,040
It makes you wonder: What does
Bergman think about his mad year?
1448
01:53:48,000 --> 01:53:51,480
INTERVIEWER (IN SWEDISH):
Imagine if 1957 was your greatest year.
1449
01:53:54,040 --> 01:53:58,280
- Why would it be?
- Well... What do you think?
1450
01:53:59,320 --> 01:54:04,280
- Two of your greatest films...
- No.
1451
01:54:04,360 --> 01:54:07,000
No, that's not how I see it.
1452
01:54:07,080 --> 01:54:11,840
I don't grade...
That's not how I think about it.
1453
01:54:13,240 --> 01:54:14,720
You see...
1454
01:54:17,040 --> 01:54:21,840
You see, I have a film...
1455
01:54:21,920 --> 01:54:26,040
Did I just shift your camera setting?
1456
01:54:26,120 --> 01:54:30,320
- Don't worry.
- My bum started getting numb.
1457
01:54:30,600 --> 01:54:32,120
(HE LAUGHS)
1458
01:56:40,240 --> 01:56:43,360
Translation: Katharina Lyckow
www.undertext.se