Ingmar Bergman

"Award-winning film director Ingmar Bergmann's scripts are among the most important documents in film history. Though his vision in such films as Wild Strawberries and The Seventh Seal has shaped our thinking about the cinema, the vast majority of his most powerful recent work only slowly finds its way to American theaters. The Fifth Act brings to English readers for the first time some of the finest creations of Bergman's mature years.". "In these scenarios of extraordinary frankness, even rawness, Bergmann shows his tender yet realistic views on the world of theater, cinema, and acting, culminating with In the Presence of a Clown, where he returns to the character of his Uncle Carl, an irrepressible inventor who comes up with an early version of the talking film."--BOOK JACKET.

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Pu Bergman is eight years old when Mother rents Pastor Dahlberg’s ramshackle house for the summer. Pu is a Sunday’s child--one said to be endowed with special gifts of sensitivity, clairvoyance, and the ability to see ghosts. As the novel opens, his heart is full of anticipation as he goes to the train station to greet his father, who is to join them. But when Father arrives, he is strangely distant, melancholy, and severe. Over the next twenty-four hours, Pu’s world is marked indelibly. In beautifully realized set pieces that reveal the Bergman family landscape and culminate in a train trip Pu and his father take together, Pu encounters death and the infirmities of aging, is humiliated by his terrorizing older brother, has his first thoughts of sex, dwells on ghost stories the servants tell, and witnesses the painful arguments between his parents. A series of "flashbacks to the future" enriches our understanding of the relationship between man and boy, as a much older Ingmar Bergman visits his ill and dying father, bringing the novel full circle. In his review of the film made from Sunday’s Children,Vincent Canby called the story "a gorgeous, richly poignant memoir. . . . Not since Wild Strawberrieshas Mr. Bergman dealt with time in a way that is simultaneously quite so limpid and so mysterious."

In this original, extraordinarily moving, and highly personal novel, world-renowned stage and film director Ingmar Bergman goes back to the time of his parents and grandparents, to the years shortly before, during, and just after World War I. Set in the decade beginning in 1908, The Best Intentions is, ultimately, a love story on many different levels: a man and woman in love; parents and children; and love as miracle, that love which is overriding and, so often, inexplicable. Bergman was inspired to write this loosely biographical novel when he began rummaging through the voluminous family picture albums. That, plus family letters and records, and his own memories and unique imagination, helped him recreate this lost world in evocative and graphic detail. Henrik is a poor divinity student. Anna is the much loved but slightly pampered daughter of bourgeois parents. They fall in love and, after a long and tortuous courtship, marry, despite the objections of Anna's parents - especially of Anna's mother, Karin. Karin uses everything in her power, including deceit, first to prevent the marriage, then to break it up. Yet, even her basest actions are never monstrous but filled with good intentions. In fact, all the characters act with the "best intentions", however wrongheaded their behavior. "That Bergman can extend sympathy to such behavior is a great and generous gesture, one that allows him to create characters of astonishing depth", wrote Caryn James in the New York Times. Incorporating some of the elements of stage and screen, including filmic dialogues and personal "asides", which he weaves artfully into the narrative flow, Bergman has written a novel of great beauty and uncompromisinghonesty, a work filled with joy and sadness, sacrifice and reconciliation - and above all, abiding love.

A screenplay about the mysterious, complicated and emotionally-charged relationship between mother and daughter. Set in a small town in Norway, a mother and daughter seek and repulse each other by turns, when Charlotte Andergast comes to visit her daughter Eva.

Seine eigentliche Profession sei das Theater, so Ingmar Bergman (geb.1918), und das Kino sei seine Leidenschaft. Weltruhm hat ihm die Leidenschaft gebracht – Filme wie „Wilde Erdbeeren“, „Das Schweigen“, „Szenen einer Ehe“, „Die Zauberflöte“, „Fanny und Alexander“. Bergmans künstlerisches Interesse gilt dem Drama des modernen Individuums. In der Auslotung von Innenwelten stößt der Theatermacher Bergman selbst erklärtermaßen an Grenzen, die der Filmregisseur erfolgreich überwindet mittels einer Kameraoptik, die das menschliche Antlitz in einen Spiegel der Seele verwandelt. In der Reihe der rororo-Monographien porträtiert Eckhard Weise eine der bedeutendsten Persönlichkeiten des europäischen Kinos. Der Autor konzentriert sich auf Beschreibung und Analyse des filmkünstlerischen Schaffens Bergmans. Biografische Aspekte kommen gleichwohl nicht zu kurz, denn – wie selten in der Filmbranche – gibt das Werk deutlich Auskunft über seinen Schöpfer. Die Mehrzahl der fast 50 Leinwanddramen Bergmans sind nicht nur von der Handschrift eines Film-Autors geprägt, in ihnen setzt sich der Regisseur mit der eigenen Person auseinander - mit Ingmar Bergman, dem Kind, dem Künstler, dem Gottsucher, dem zumeist verunsicherten jugendlichen Liebhaber oder reiferen Ehemann, dem Bewunderer der Frauen.

Screenplay translated from Swedish into English based on the mini-series about a conventional couple with a seemingly perfect marriage who slip into divorce and an ever more complicated relationship.

Each interview lasted on an average four hours. Altogether we spoke with Bergman about his films for rather more than fifty hours. About half our conversations were tape recorded. This book is based exclusively on this interview material. - Foreword.