EREVIEW FILM
viewers everywhere. (in the writing stall at Svensk
Filmindustri,the Swedish nationaliilm BOOK NOW
studios as early as 1943, Bergman
made his debut as writer and director C A R] BBE A N HOLIDAY
two years later with the melodrama Crisis; but it wasn’t until the mid-50s '
that he began to iind a distinctive FROM . ! ! ! ' identity oi his own. The adolescent
l idle SummerWith Monica, Sawdust
and Tinsel's tale oi circus talk, and the I R
uncharacteristic drawing-room intrigues oi Smiles ot a Summer Night ° °
-the basis tor Stephen Sondheim's A D00“ the B r lggal t Little Night Music and inspiration tor
admirerWoody Allen’sA Midsummer UL) 22-26 I*IVE DAYS ONLY! Night’s Sex Comedy— gave notice oi a , startling new talent. This arrival was J‘ )1 N Ti 1 1‘? PA RTY WITH Maxvon Sydow and BibiAnderssoninThe conlirmed by the 1957 release oi two oi Sit-ZR R A MAI-IS'i'RA ((Zulm) \i‘;./ .1? Hum 31‘ 511/ 33 Seventh Seal his (111.1031 lentiuriing MilllSleflJieTcth. "'9 ' 1.11117. M 12x11) BAN 1) «Jim-.11. .11 11' ;./ 1 "mm 3; _ g;g::hasgeal'g:fizIdegggwheemes’ a SKii-‘i-‘Hi lil"N( :11 BAN!) <111m.1...1 .x- 'llllmgnl mm 3; compassionate and moving study oi an 5' '( “WP/W13 l’l’rimdzul) MI 33 ageing proiessor’s reminiscences. 1113511 mu 'MMi-ZRS (111111.114 x 11,11,114“) x.” 3; The early 60sasa‘withenLauthetrylinnh a '1‘A.\111( )R [-28 111‘. SA N _1 1 'AN (Vt'llt'ltlt'lJ) \1’ ;./ 3-? pasorssonrec s ur . . I“ . .. .. H Be _ A 'amed trilogy (Through A mass Darkly, ‘ .M(‘)i\( 1:11 hilt-litxtm.‘ 11111111.”) \1 ,1/ ._ _. H Wimer Liam, The snence) on me crisis LA R Ink AISSA \( .I: 1)]: 51 A.\ A i: ((111.1dt'loupcl \l (1/ .3-) " oi iaith in a world iull oi pain and . , . y . ‘ n . ~ ‘ i ‘ anguish but, arguably, his summe 5141,1111. (.1 1:51 Ai’i’izARANLizs achievement was to come with 1966’s (ii./\S( ;( )\\" S'I‘iil-ZI. 11AM) 1 \1".,/.3.?1 DAVi-Z ANDERM )N & Persona. 3'0'mallvinnova'i‘le \\"11.1)<;A'1' (TM/1'1 .2 s; (111.1. 11 1A1 SINGING! 11-1-1 2.1; MM, his screenplay iorThe Best meditation on the nature at identity .H H: \1 (.1 [.‘Km, mu y” H. M A. ,3 Intentions looks Iikelyto be Ingmar periormed with disturbing conviction ‘ , ' ‘ ‘ g ‘ b ‘ ' ~ . g . ' ‘ ' ‘” ’ Bergman’siarewelliilm credit, a by Liv Ullman and BibiAndersson. DIV“ "ARK “WWW-f“ “ill-H)” WI” 3‘” portrait oi his parents that ends with the Committed periormances irom the M .n, 26 HR um. M R A I)“ uture movremaker nestling In his director 3 personal repertory company, mother’s womb and so closes iull circle among them Max Von Sydow and (il.AS( ;( )\\" FA 1 R ’1‘1 115 BRIGGA 11‘ on one at the cinema's mostbrilllant Erland Josephson, had by now become (:1.\'1)1{ S'i‘Ri-Iii'l' GLASGOW (11 careers. An undoubted master oi the a Bergman trademark and proved a ’1‘ickctsz (111’ 11 22" 5 51 1 11111) S so 2101’ European screen, Bergman made his crucial component in the iollowing own penetrating personal style, decade’s detailed work on the trials oi
exploring with unilinching courage the human relationships, most notably in
darkest recesses oi the human psyche the Oscar-winning Cries and Whispers c RA in across a ilmography spanning six and the television classic Scenes From ; decades. A Marriage (both 1973). While his 1988 autobiography The Driven into 70s exile by an 1 _. _ _ .. . _ , ......... . , ............................... , V- ' Magic Lantern (Penguin, £5.99) acrimonious tax dispute with the ),' ,, revealed the perhaps surprising extent Swedish authorities, Bergman’s UPROA8<|OUS SEXUAL FARCE oi theatrical work Bergman continued astonishingly iertile output had shown I, De'c M‘j'c°"“ THE GUARD'AN to take on (and the crippling illness signs oi strain by the turn oi the 80s, JOYfUI SUbverSIOn of The Porn Genre... underwhich it was often carried out), beiore he announced his cinematic A FEMALE BUDDY MOVE"THE GOOD TIMES the candid picture which emerged was adieu with a return to iorm in the H o . gt a highly emotional iigure exorcising delightful domestic chronicle Fanny OUTRAGEOUS...WI” dlsgust or delight is own internal demons through and Alexander. The Best Intentions has ' II , proliiic creativity. Alooi and iairly come as a sort oi coda, but to expect a accordmg to to Ste WHAT 5 ON arrogant, he's hardly a sympathetic subsequent artistic peak irom the type, but in his relentless sell-analysis Swede at this point would surely be to he brought to the cinema an ask too much. In iilmlc terms, he unparalleled degree oi psychological seems to have said almost all there is perception which continued to resonate to say. (Trevor Johnston) with the private worlds oi individual
.. ~
P1200115??? ‘PEPO N e 'o 59131;. :15’?“‘;:“ motorway-Sf) - COSIUME orsmen MANUELA COMACHO eononeEPE SALCEDO A' ’ no TARTAN RELEASE
FROM MON 27 GLASGOW FILM THEATRE FROM SUN 19 EDINBURGH FILMHOUSE
The List 17—— 3()July 199213