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Ingmar Bergman is undoubtedly not only the world’s best-known Swedes country’s leading filmmaker but is generally regarded as one of the leading figures in the entire world of cinema art. Bergman is a relatively small, filmmaker. Bergman said that even the surname of Antonionici and Tarkowski was rarely corrected.

Bergman began his professional career at a theatre in 1944, at the age of 26. He became Sweden’s youngest theatre manager at the Helsingborg Municipal Theatre which is a middle town in southern Sweden. His mission here – the recovery of a dying company succeeded beyond all expectations. Bergman turned the sleeping provincial theater into a controversial meeting place for the city’s cultural life. In two short seasons, Bergman directed nine productions. Of these, it is worth singing the politically charged 1944 production of “Make Beth,” in which the lead role came to embody Nazism and dictatorship.

Bergman’s career as a cinema artist is absolutely unique. From his directing debut in 1946 to “Fanny” and “Alexander” (1982), He has directed more than 40 films. For example, The Naked Night (1953, UK title Saddust and Tinsell), The Seventh Seal (1957), Wild Strawberries (1957), The Silence (1963) and Persana (1966) are considered complete Western traditional stories of cinema. But what helped Bergman gain world fame today is that art has helped to gain world fame. He has tried hard to portray the ability to use as a medium of mass, as a deep, personal form of expression, a tangible world of existential or psychological problems and events.

He has worked as a director for countless plays in Sweden and abroad. In fact, Bergman began his career in drama as a young man, and the life of this work is in full swing. “They have to take me out from the bottom of the theater first,” Bergman has said.

As a boy, Bergman also had a puppet theater. He created his own little toys, depicted scenery, and during his teens, this toy theater grew rapidly. ‘The lighting equipment, the rotating positions, the sliding positions: the big, heavy things that filled my whole room so no one could get in.’ He has said that he was part of the work

In other words, even as a child, Bergman was steeped in two fields that devoted his entire professional life as an adult, who has referred to the theater as his “loyal wife and his “expensive mistress” of cinema but whose childhood years proved important to Bergman’s later work.

First, as a perennial source of inspiration for the creative process: “I can still roam around in my childhood, and again experience lights, smells, people, rooms, rare moments, gestures, voice and tones of things,” he writes. Childhood is also important in a certain sense. This is particularly evidence of Bergman’s relationship with his parents, which he has pointed out many times over the years – on many cinematic themes. Like a child in a strictly controlled family structure, he sees the artist pushed to the lowest level in a society’s hierarchical power structure.

Bergman’s cinematic works stem from a repository of personal intelligence and experiences. He wrote a single song for many voices. some Bergman scholars say they are the autobiographical “arc of life” of these movies’ timelines. Vulnerable young people can face an incomprehensible position in his early films

In the early 1950s, his most mature films saw sexual and marriage problems, and in the late 1950s and most of the 1960s, his films revealed religious struggle and artistic issues. His psychological films of the 1960s and 1970s came out, with some characters featuring aspects of the soul or storyteller that take on a true form of self-analysis.

His films are a book of email memories, in which, as he puts it, he “presents evidence… Memories that combine courage, heart, brain, nerves, and experiences.

Bergman has also started a literary project in 1991 – trying to provide his screenplays for his combined novel Screenplay Good Intentions (1991) and Sunday Children (1992), the most nuanced films of his childhood. Some of the images can be explained simultaneously as another contribution to the metaphorical self-analysis that Bergman’s films can describe. About good intentions, he said, “The strangest film I created… It could be a mom. It could be the father. But it could be me too.”

It is thus evident that Ingmar Bergman is a person where art and life are one. Nevertheless, there is reason to be wary of interpreting his work based on short biographical facts. Personality is a risk of a burdensome cult, but, when Bergman’s works end up in themselves-ironically, pattern background” a diagnosis of life somehow gets such attention

. Finnish Swedish writer and cultural critic, Jörn Toner pointed this out in his Bergman book, and he proposes a keen interest in Bergman. It was particularly characteristic of Swedish writers from the very beginning of his career “what a face they love here, his soul, but they forget to look for the realistic face his film shows.”

As a counterweight, Bergman’s ability to portray the part he carved early in his career indicates significant diversity. From one film to another, from one decade to another, his theme and modern elements are constant changes, events have undergone meaningful changes. This has occurred to the organizing of any linear development curve in the traditional sense.

His first five films were based on existing literary works and Bergman was a truly self-taught director who, by admitting, freely directed styles “I ran helplessly in any form I could save me.” 

It’s inspired by the cinema between French wars and “poetic realism” and “The Man with an Umbrella (1946, UK title It Raines on Our Love) and A Ship to India (1947, UK title The Land of Desire) and the working-class drama Port of Call (1948, UK title Harbour City) are very clear. It was deliberately composed in the spirit of Italian neorealism. Bergman was part of a generation of relatively privileged Swedish film directors who today’s hard-pressed filmmakers can learn his craft during paid working hours and in many styles before he finds his own

Over time, the contours will have Bergmenian photographs. One is the religious and broader existential problem. Especially from an international perspective, his popularity undoubtedly depends on the fact that he traditionally brought the domains of philosophy and religion into cinematic issues, and not long ago, some thought this art form was capable.

In this context, a major film was created by Devils Wanton (1949, UK title prison).

In his screenplay’s he explicitly framed the theological problem that could happen again in his later films. Is the earth a living hell, and for that matter, there is also a God, where is he? Amid a natural story of a young streetwalker and an appearance that is untold realistic of his sacrifice, Bergman is a brief representative and sometimes drawn toward a purely metaphorical style.

Seventh Seal (1957) naturally occupies a special place in his religious color splendor. With its simple form and genetic high-contrast cinematography, the medieval film ‘Night Antonius Black’ (played by Max van Sido) shows how he faces death, thereby simulating the existential struggle and religious doubts of modern man. Naturally represents the culmination of his religious themes in Bergman’s” God-True a Glass Darkley (1961), Winner Light (1963, UK title The Introcants), and The Silence (1963).

Considered by many to be the high point of his artistic career, his films typically demonstrate the extent to which they connect and reflect with the modernist project that characterizes 20th-century art. This art is a sign of modern crisis: rebellion against power, the disintegration of absolute values, doubt, and denial. Important

a unique and different approach is found in Bergman’s women-oriented movies. Some of their jokes, which appeared in the first half of the 1950s, included Secrets of Women (1952, UK title waiting girls), a lesson in love (1954), smiles of a summer night (1955) and to some extent dreams (1955) traveling in the UK title autumn, these films were made for stark financial reasons. This did not stop him from showing his skill in creating comedy maneuvers and dialogue aimed at the pretensions and intrigues of his gender.

Bergman thus referred to his leading lady Eva Dolbeck as a “warship of womanhood” -. This is especially evident in the effortless elegance of exchanges of wedding poison and yawns Björnstrand Eva Dolbeck and Gunner during the famous broken lift scene in Secrets of Women.

“Chin” is world-famous. The film, especially in France, was felt exotic by most Swedish fans. This includes Bergman’s sensitivity to nature and changing seasons, the Nordic light, and summer b as a symbol of paradise, which is evident from the titles of his films. In addition to Summer with Monica and Smiles of a Summer

Night, Bergman made films with several summer themes, such as “Illegal Interloot” (1951, UK title Summer Interloot) and Wild Strawberries (1957).

The Touch (1971), Bergman’s first-class film production, is not entirely Swedish. It featured in the internationally known “star”-Elliot Gould-main male role. Two years later came the TV miniseries Scenes From a Marriage, which was distributed abroad in a film version.

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In one final, a remarkable collection of Bergman motifs revolves around art and artist. This is evident from the fact that many of his films take place in the artistic context: the film studio in The Devil’s Wanton, the Royal Opera Ballet on the illegal break. The Naked Night UK title is Circus in Sawdust and Tinsel), the medieval farce in The Seventh Seal The Magician”s “Magnetic Health Theatre,” and of course host, The Ritual (UK title The Kids and Fury and Alexander in mall diverse Finns like “Real” Theatre.

The Naked Night is a real audience fiasco. However, it is a remarkably hit film because Bergman is the first film to portray an art community “a traveling circus group-disgraced social outcasts, hunted down from place to place by their bosses and police. Its character depictions and theatrical elements indicate how strongly Bergman’s active universe is controlled by theatrical metaphor:

Snakeskin was full of ants. The snake itself has been dead for a long time, eating out from within, without its venom; But the skin is moving, filled with busy life… Religion and art are kept alive for emotional reasons, regular respect for the past.”

However, Bergman literature mainly relates “snakeskin” to personality. The film appears to be a watershed in Bergman’s filmmaking because it’s not just a kind of artistic self-conflict, but Bergman’s most intensely modern experiment so far. For example, the faces of two main female characters played by Bibi Anderson and Liv Blind appear to blend souls into Ontuij, a popular intimate,

The film is ultimately a continuation of the Strintbergian dream and drama aesthetic, which Bergman initially experimented with at Wild Strawberries; In that film, it is governed by a modernist speed story system, which will be followed by the God trilogy, where Bergman’s purpose is to allow the waking world to take on the characteristics of a dream, to allow his film narrative to reach the unrestrained, dreamy-like enlightenment he believes is too close to the essence of cinema.

In Bergman’s own opinion, he has achieved this only a few times in his life for example, in Persha, “this combination of different voices in the Concerto Grosso of the same soul.”

During the 1970s, however, the artist motif and the associated self-conscious cinematic aesthetics moved into the background in Bergman’s films, in favor of the themes not mentioned above. It didn’t stop the artist figure from making a successful but contradictory turn in Bergman’s last film, Fanny and Alexander. Bergman does this in his portrait of the Ekdal family – not accidentally modeled on Ibsen’s family of the same name – with their love of character drama and innocent, Peepshow-like Christmas products. This theme, of course, is primarily the young main character Alexander (played by Bertie Guay) who is forced to suffer for his fictional powers.

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