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The films showcased in our new collection of early works by Martin Scorsese are deeply influenced by the director’s life in New York City and the experiences of his family and friends. In addition, woven throughout the writing about Bergman is a selection of things the filmmaker wrote or said himself, whether in scripts, journals, books, or letters, whether on camera or to another writer. The devil (Stig Järrel) suffers from an inflamed eye, which he informs Don Juan (Jarl Kulle) can be cured only if a young woman’s chastity is breached. A girl (Andersson) and boy (Lars Ekborg) from working-class families in Stockholm run away from home to spend a secluded, romantic summer at the beach. In Fårö Document, shot on handheld 16 mm by Sven Nykvist, Bergman interviews a variety of locals, in the process laying bare the generational divide between young residents eager to leave the island and older people more deeply rooted in bucolic tradition. At the height of his international acclaim, Ingmar Bergman followed two meditations on death, The Seventh Seal and Wild Strawberries, with an examination of the mystery and pain of birth. We believe these selections represent some of the pinnacles of Bergman’s filmmaking, as well as moments that forever altered cinema history. Directed by Ingmar Bergman,

As Criterion producer Karen Stetler learned while working on our new edition, this adaptation of H. G. Wells’s sci-fi novel was a career milestone for a wide range of talent, from director Byron Haskin to feline performer Orangey. A chamber piece performed by four wounded characters and suffused with disappointment and forgiveness, Saraband is a generous farewell to cinema from one of its greatest artists. This richly humane masterpiece, full of iconic imagery, is one of Ingmar Bergman’s most widely acclaimed and influential films. Taking its title from Friedrich Schiller’s “Ode to Joy,” adapted by Beethoven for his Ninth Symphony, this tragic romance opens with a violinist, Stig (Stig Olin), learning of the sudden death of his wife, Marta (Maj-Britt Nilsson). The struggles of faith and morality, the nature of dreams, and the agonies and ecstasies of human relationships—Bergman explored these subjects in films ranging from comedies whose lightness and complexity belie their brooding hearts to groundbreaking formal experiments and excruciatingly intimate explorations of family life. “God, why hast thou forsaken me?” With Winter Light, Ingmar Bergman explores the search for redemption in a meaningless existence.

10 new Through the eyes of ten-year-old Alexander, we witness the delights and conflicts of the Ekdahl family, a sprawling bourgeois clan in turn-of-the-twentieth-century Sweden. Grasshopper Films. Max von Sydow and Liv Ullmann star as musicians living in quiet retreat on a remote island farm, until the civil war that drove them from the city catches up with them there. Upon its release, the filmmaker declared this emotionally complex and sensitively performed film to be his first real love story. In honor of Ingmar Bergman’s one hundredth birthday, the Criterion Collection is proud to present the most comprehensive collection of his films ever released on home video. An undeniably personal work for Ingmar Bergman, To Joy is a compelling tale of a young man’s struggle with the demons standing in the way of his happiness. Working from a bawdy screenplay he cowrote with actor Erland Josephson, about a supercilious critic drawn into the dizzying orbit of a famous cellist, Bergman brings together buoyant comic turns by a number of his frequent collaborators, including Jarl Kulle, Eva Dahlbeck, Harriet Andersson, and Bibi Andersson. Related products. When the couple are invited to a nearby castle for dinner, things start to go wrong with a vengeance, as a coven of sinister aristocrats hastens the artist’s psychological deterioration. With his very first film as a director, made under the mentorship of the silent-film maestro Victor Sjöström, Ingmar Bergman began exploring a couple of the essential themes of his early period: youth pitted against crass society and the tensions between men and women. Check out the trailer for the box set below: The producer of our edition of Henry King’s brooding western shares interesting facts he uncovered about the veteran director’s career, the origin of the film’s protagonist, and a Bob Dylan song inspired by its story line.

The strangest and most disturbing of the films Ingmar Bergman shot on the island of Fårö, Hour of the Wolf stars Max von Sydow as a haunted painter living in voluntary exile with his wife (Liv Ullmann). One of the most influential films of its time, The Seventh Seal is a stunning allegory of man’s search for meaning and a work of stark visual poetry. Ingmar was devastated. Staged on bare sets and shot almost entirely in close-up, The Rite condenses a decade’s worth of cinematic exploration into seventy-five tense, unsettling minutes. While vacationing on a remote island retreat, a family finds its fragile ties tested when daughter Karin (an astonishing Harriet Andersson) discovers her father (Gunnar Björnstrand) has been using her schizophrenia for his own literary ends. The eighteen-year-old Nelly (Inga Landgré), who lives with her foster mother in a quiet provincial town, is shaken by the sudden arrival of her birth mother (Marianne Löfgren), who eventually takes her to Stockholm—where Nelly receives a crash course in corruption and wrenching heartbreak.

etc.) ), most, of which have new transfers (Autumn Sonata, The Seventh Seal in 4K Restored etc.

In honor of Ingmar Bergman’s one hundredth birthday, the Criterion Collection is proud to present the most comprehensive collection of his films ever released on home video. Deftly interspersing scenes of farce with interludes of tranquil reflection, A Lesson in Love serves as an aperitif before the full-blown comic brilliance of Smiles of a Summer Night the following year. Through flashbacks and fantasies, dreams and nightmares, Wild Strawberries dramatizes one man’s remarkable voyage of self-discovery.

Bergman’s first color film since All These Women, The Passion of Anna is a sequel of sorts to Shame. With his final film, Ingmar Bergman returned to two of his most richly drawn characters: Johan (Erland Josephson) and Marianne (Liv Ullman), the couple from Scenes from a Marriage. This scintillating screen version of Wolfgang Amadeus Mozart’s beloved opera showcases Ingmar Bergman’s deep knowledge of music and gift for expressing it cinematically. With this confident and disciplined feature, his fifth, Bergman tackled moral and social issues head-on. This retrospective is accompanied by a book that aims to enrich your experience of watching the films. Criterion UK.

Winner of the Academy Award for best foreign-language film, Ingmar Bergman’s The Virgin Spring is a harrowing tale of faith, revenge, and savagery in medieval Sweden. Bergman described Fanny and Alexander as “the sum total of my life as a filmmaker.”. Returning exhausted from the Crusades to find medieval Sweden gripped by the Plague, a knight (Max von Sydow) suddenly comes face-to-face with the hooded figure of Death, and challenges him to a game of chess. A day later, he bought the projector from Dag fair and square, and the rest is history. While at a summerhouse, awaiting their husbands’ return, a group of sisters-in-law recount stories from their respective marriages. The producer of our edition of Chris Hegedus and D. A. Pennebaker’s landmark documentary shares what she learned about the galvanizing figures at the center of the film. Two sisters—the sickly, intellectual Ester (Ingrid Thulin) and the sensual, pragmatic Anna (Gunnel Lindblom)—travel by train with Anna’s young son, Johan (Jörgen Lindström), to a foreign country that appears to be on the brink of war. Shot on 16 mm in intense, intimate close-ups by cinematographer Sven Nykvist and featuring flawless performances by Ullmann and Josephson, Bergman’s emotional X-ray reveals the intense joys and pains of a complex bond. With this dark and multilayered drama, sustained by biting dialogue, Ingmar Bergman began to reveal his profound understanding of the female psyche. This film, which contains some of the most devastating scenes in Bergman’s oeuvre, shows the impact of war on individual lives. Crisis proved that Bergman had an incipient gift for developing characters and evoking atmosphere on-screen. Winner of the Academy Award for best foreign-language film, Through a Glass Darkly, the first work in Ingmar Bergman’s trilogy on faith and the loss of it, presents an unflinching vision of a family’s near disintegration and a tortured psyche further taunted by the intangibility of God’s presence. An intensely felt film that is one of Bergman’s most striking formal experiments, Cries and Whispers (which won an Oscar for the extraordinary color photography by Sven Nykvist) is a powerful depiction of human behavior in the face of death, positioned on the borders between reality and nightmare, tranquility and terror. Nearly a decade later—and after shooting a number of arresting dramas there and making the island his primary residence—the director set out to pay tribute to its inhabitants. With the box set Ingmar Bergman’s Cinema, releasing this November, the Criterion Collection is celebrating the director’s film work with a selection of thirty-nine of his features, including his directorial debut, Crisis (1946), and his farewell, Saraband (2003), completed three and a half years before his death, on July 30, 2007, at the age of eighty-nine. This intimate chamber drama, set in a maternity ward, follows the emotional crises of three women as they grapple with motherhood. Touching on many of the themes that would define the rest of his career—isolation, performance, the inescapability of the past— Ingmar Bergman’s tenth film was a gentle drift toward true mastery. A podcast network and website

The hunchbacked sailor Johannes (Birger Malmsten) longs to escape his home on a salvage ship helmed by his cruel, drunken father (Holger Löwenadler)—and so does the captain himself, who is slowly going blind and planning to leave his wife and son for a music-hall performer named Sally (Gertrud Fridh).


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