The website of the local daily newspaper just reported that Swedish director Ingmar Bergman has died at his home in Fårö at the age of 89. RIP.
I guess he should have been honing his chess playing skills.
Seriously, though, he was one of my top five all-time favorite directors. His artistic achievement was unique, and his work has made our lives richer.
That’s too bad. One of the first classes I took in college was a freshman seminar on Bergman’s films, most of which confused the heck out of me, but gosh, The Seventh Seal is fabulous.
So who’s going to take care of Charlie McCarthy now?
A great director. I took a course on his films back in the 70s; saw about 22 of them, watching him develop.
I hope they know ENOUGH to play “Yes, We Have No Bananas” at his funeral.
Same person who has for years- his sister, Ingrid.
(I originally wrote “Candace” as a semi-accurate joke, then decided “Ingrid” would be amusing in its cluelessness.)
I’ve only seen THE SEVENTH SIGN, (and of course, numerous parodies by Woody Allen, SCTV and Bill & Ted), and on the basis of that alone, I know a genius has passed.
I’m sure you mean The Seventh Seal. The Seventh Sign was another and much inferior movie.
Twenty minutes ago, I was telling Mom about his death, and I thought “Crap, I bet I called that movie The Seventh Sign!” (which I loathed).
And I was dying to make a Casablanca reference myself.
The Seventh Seal is just a stunning movie. It left an afterimage on my mind like staring into a bright light. I’ve seen few movies that were so remarkable.
He was a true genius; I’ve seen only a fifth of his films (working my way through them all) and they never fail to astound me. Perhaps the most consistently great filmmaker of all.
What a crappy year for the arts; Vonnegut AND Bergman dead. Geez, it’s almost depressing.
(edited because I can’t count)
I’m a bit puzzled by the shortness of this thread. I would have thought the SDMB would have a lot of Bergman fans.
yet another case of “I didn’t know he was alive until I found out he was dead”. Great director though. I own about 10 of his movies - Criterion has treated his work well.
Seal may be his most iconic, but my absolute favorite is the magnificent Persona, with the luminous Liv Ullmann and Bibi Andersson, both of whom were part of his stable of acting regulars (along with Max von Sydow, Harriet Andersson, Ingrid Thulin, and especially Gunnar Björnstrand). The brilliant cinematographer Sven Nykvist (who died less than a year ago) won 2 Oscars for Bergman films, and though the canonical ones are great–Seal, Wild Strawberries, Cries & Whispers, Scenes from a Marriage–there are plenty of small treasures in Bergman’s remarkable body of work, some very difficult but always rewarding: Sawdust & Tinsel, Shame, The Silence to name just a few.
But anyone who thinks of him merely in the gloom & doom sense needs to see the vibrant Smiles of a Summer Night, overflowing with ripe libidos. Or the whistful romanticism of Summer with Monika. Or the sheer joy of The Magic Flute, still the best opera ever translated to film. Or Fanny & Alexander, which balances a cheerless oppressiveness with a love of life and family and community very rarely ever matched in film.
He was indeed a Master among Masters. RIP.
Everyone is afraid to chime in because too much enthusiasm from the masses will cause him to become lowbrow; and nobody wants that.
I just saw something older by him called Wild Strawberries-- late 50s, around the same time as the Seventh Seal-- which judging by the plot (guy (Max von Sydow) in late middle age goes for a road trip and drops by his childhood home) should have been deadly boring but stuck with me for weeks afterward. He made very banal situations seem existentially important.
Yep, one of the all-time greats. Summer with Monika and The Devil’s Eye are my two favorites by him.
You may not know this, capybara, but the old man in Strawberries was Victor Sjostrom, who himself was one of the greatest silent film directors in both Sweden (The Phantom Carriage) and the USA (The Wind, He Who Gets Slapped, The Scarlet Letter). There have been very few films that dealt with old age and memory as astutely and unsentimentally as it, and it was the one-two punch of Strawberries and Seal, both in 1957, that really established Bergman internationally.
I am sad, but the world has been much enriched by his life and work.
My first exposure to Bergman was on a late-night tv programme here called Cine-Club. The movie was Virgin Spring, and I was mesmerized by it. None of my cinematic experiences to that day had prepared me for this.
Afterwards, I made a point of seeking out his work and saw most of his movies.