What do you think?
Rate this book
The Magic Lantern
“When a film is not a document, it is a dream. . . . At the editing table, when I run the strip of film through, frame by frame, I still feel that dizzy sense of magic of my childhood.” Bergman, who has conveyed this heady sense of wonder and vision to moviegoers for decades, traces his lifelong love affair with film in his breathtakingly visual autobiography, The Magic Lantern.
More grand mosaic than linear account, Bergman’s vignettes trace his life from a rural Swedish childhood through his work in theater to Hollywood’s golden age, and a tumultuous romantic history that includes five wives and more than a few mistresses. Throughout, Bergman recounts his life in a series of deeply personal flashbacks that document some of the most important moments in twentieth-century filmmaking as well as the private obsessions of the man behind them. Ambitious in scope yet sensitively wrought, The Magic Lantern is a window to the mind of one of our era’s great geniuses.
“[Bergman] has found a way to show the soul’s landscape . . . . Many gripping revelations.”—New York Times Book Review
“Joan Tate’s translation of this book has delicacy and true pitch . . . The Magic Lantern is as personal and penetrating as a Bergman film, wry, shadowy, austere.”—New Republic
“[Bergman] keeps returning to his past, reassessing it, distilling its meaning, offering it to his audiences in dazzling new shapes.”—New York Times
“What Bergman does relate, particularly his tangled relationships with his parents, is not only illuminating but quite moving. No ‘tell-all’ book this one, but revealing in ways that much longer and allegedly ‘franker’ books are not.”—Library Journal
More grand mosaic than linear account, Bergman’s vignettes trace his life from a rural Swedish childhood through his work in theater to Hollywood’s golden age, and a tumultuous romantic history that includes five wives and more than a few mistresses. Throughout, Bergman recounts his life in a series of deeply personal flashbacks that document some of the most important moments in twentieth-century filmmaking as well as the private obsessions of the man behind them. Ambitious in scope yet sensitively wrought, The Magic Lantern is a window to the mind of one of our era’s great geniuses.
“[Bergman] has found a way to show the soul’s landscape . . . . Many gripping revelations.”—New York Times Book Review
“Joan Tate’s translation of this book has delicacy and true pitch . . . The Magic Lantern is as personal and penetrating as a Bergman film, wry, shadowy, austere.”—New Republic
“[Bergman] keeps returning to his past, reassessing it, distilling its meaning, offering it to his audiences in dazzling new shapes.”—New York Times
“What Bergman does relate, particularly his tangled relationships with his parents, is not only illuminating but quite moving. No ‘tell-all’ book this one, but revealing in ways that much longer and allegedly ‘franker’ books are not.”—Library Journal
314 pages, Paperback
First published January 1, 1987
About the author
Ingmar Bergman
132 books566 followersErnst Ingmar Bergman was a nine-time Academy Award-nominated Swedish film, stage, and opera director. He depicted bleakness and despair as well as comedy and hope in his explorations of the human condition. He is recognized as one of the greatest and most influential filmmakers in cinematic history.
He directed 62 films, most of which he wrote, and directed over 170 plays. Some of his internationally known favorite actors were Liv Ullmann, Bibi Andersson, and Max von Sydow. Most of his films were set in the stark landscape of his native Sweden, and major themes were often bleak, dealing with death, illness, betrayal, and insanity.
Bergman was active for more than 60 years, but his career was seriously threatened in 1976 when he suspended a number of pending productions, closed his studios, and went into self-imposed exile in Germany for eight years following a botched criminal investigation for alleged income tax evasion.
He directed 62 films, most of which he wrote, and directed over 170 plays. Some of his internationally known favorite actors were Liv Ullmann, Bibi Andersson, and Max von Sydow. Most of his films were set in the stark landscape of his native Sweden, and major themes were often bleak, dealing with death, illness, betrayal, and insanity.
Bergman was active for more than 60 years, but his career was seriously threatened in 1976 when he suspended a number of pending productions, closed his studios, and went into self-imposed exile in Germany for eight years following a botched criminal investigation for alleged income tax evasion.
Ratings & Reviews
Friends & Following
Create a free account to discover what your friends think of this book!
Community Reviews
Displaying 1 - 30 of 245 reviews
January 12, 2022
Laterna Magica = The Magic Lantern: an autobiography of Ingmar Bergman, Ingmar Bergman
Ingmar Bergman (July 14, 1918, Uppsala, Sweden, July 30, 2007, Fårö, Sweden) creator of such films as Wild Strawberries, Scenes from a Marriage and Fanny and Alexander turns his perceptive filmmaker's eye on himself for a revealing portrait of his life and obsessions.
فانوس خیال: زندگینامه اینگمار برگمان؛ تاریخ نخستین خوانش: روز هفدهم ماه نوامبر سال1992میلادی
عنوان: فانوس خیال: زندگینامه اینگمار برگمان به قلم خودش؛ نویسنده: اینگمار برگمن؛ مترجمها: مهوش تابش، مسعود فراستی؛ مشخصات نشر تهران، سروش (انتشارات صدا و سیما)، سال1370، در346ص، عکس، چاپ دوم سال1389؛ چاپ سوم سال1392؛ شابک9789643632816؛ چاپ دیگر تهران، جهان ادیب؛ سال1383؛ در345ص؛ شابک9649188835؛ موضوع: سینما، زندگینامه خودنوشت تهیه کنندگان و کارگردانان سوئد - سده20م
فانوس خیال، زندگینامه یک انسان عادی به قلم خودش است، که در کودکی شیطنت، در نوجوانی طغیان، در جوانی خطاهای بسیار، در میان‌سالی احساس گناه، و در سالخوردگی آرزوی جبران بگذشته ها را، دارند؛ او مردی است که در هفتاد سالگی، از خود و خانواده اش، از تجربه هایش، از احساساتش و ضعف‌هایش، صریح و بی‌پرده، و گاه گزنده و نقادانه، سخن می‌گوید، بی آنکه ادعای حل مسائل هستی را، داشته باشد؛ حتی ادعای حل مسئله ی یک انسان معمولی دیگر را هم ندارد؛ هر چند که چراهای بی پاسخ بسیار برای خودش دارد، چراهایی در باب زندگی، مرگ، عشق و ...؛ این مرد «سوئدی» پرکار و خلاق، که اکنون بیش از هفتاد سال زندگی، و ده ها فیلم، و نمایشنامه، پشت سر خویش دارند، «ارنست اینگمار برگمان»، کارگردان بزرگ و پرآوازه ی سینمای جهان و تئاتر «سوئد» هستند
تاریخ بهنگام رسانی 09/12/1399هجری خورشیدی؛ 21/10/1400هجری خورشیدی؛ ا. شربیانی
Ingmar Bergman (July 14, 1918, Uppsala, Sweden, July 30, 2007, Fårö, Sweden) creator of such films as Wild Strawberries, Scenes from a Marriage and Fanny and Alexander turns his perceptive filmmaker's eye on himself for a revealing portrait of his life and obsessions.
فانوس خیال: زندگینامه اینگمار برگمان؛ تاریخ نخستین خوانش: روز هفدهم ماه نوامبر سال1992میلادی
عنوان: فانوس خیال: زندگینامه اینگمار برگمان به قلم خودش؛ نویسنده: اینگمار برگمن؛ مترجمها: مهوش تابش، مسعود فراستی؛ مشخصات نشر تهران، سروش (انتشارات صدا و سیما)، سال1370، در346ص، عکس، چاپ دوم سال1389؛ چاپ سوم سال1392؛ شابک9789643632816؛ چاپ دیگر تهران، جهان ادیب؛ سال1383؛ در345ص؛ شابک9649188835؛ موضوع: سینما، زندگینامه خودنوشت تهیه کنندگان و کارگردانان سوئد - سده20م
فانوس خیال، زندگینامه یک انسان عادی به قلم خودش است، که در کودکی شیطنت، در نوجوانی طغیان، در جوانی خطاهای بسیار، در میان‌سالی احساس گناه، و در سالخوردگی آرزوی جبران بگذشته ها را، دارند؛ او مردی است که در هفتاد سالگی، از خود و خانواده اش، از تجربه هایش، از احساساتش و ضعف‌هایش، صریح و بی‌پرده، و گاه گزنده و نقادانه، سخن می‌گوید، بی آنکه ادعای حل مسائل هستی را، داشته باشد؛ حتی ادعای حل مسئله ی یک انسان معمولی دیگر را هم ندارد؛ هر چند که چراهای بی پاسخ بسیار برای خودش دارد، چراهایی در باب زندگی، مرگ، عشق و ...؛ این مرد «سوئدی» پرکار و خلاق، که اکنون بیش از هفتاد سال زندگی، و ده ها فیلم، و نمایشنامه، پشت سر خویش دارند، «ارنست اینگمار برگمان»، کارگردان بزرگ و پرآوازه ی سینمای جهان و تئاتر «سوئد» هستند
تاریخ بهنگام رسانی 09/12/1399هجری خورشیدی؛ 21/10/1400هجری خورشیدی؛ ا. شربیانی
April 1, 2024
It is an excellent book of memories (more self-analysis than an autobiography; nothing is chronological, but everything has logic, and everything is reflected).
Ingmar Bergman has never been able to speak to his mother. Then, in the last chapter, listening to Bach's Christmas oratorio (the chorale walked confidently through the darker and darker space: Bach's piety soothes the pain inflicted on us by our ungodliness.) A church inspires him with a final imaginary encounter with his mother, who died long before, by entering the church's clergy, which takes him back to his childhood. He knows now is not the right time.
"- I know that I disturb, that this is the moment when the mother wants to be alone, I know it. Before dinner, father rests, and mother reads or writes in her journal; I come from the church where I have listened to Bach's Christmas oratorio, it was so beautiful, the light was beautiful, I said to myself all the time: today I will try again, and this time it will be successful. "
Try to ask the questions that undermine him: Why was my brother made a disabled person? Why was my sister reduced to a cry? Why did I live with a wound that was still infected and never healed and went right through me? All I want to know is why, behind this fragile facade of social prestige, we have experienced such appalling misery.
And her mother tells her that she is so tired.
He answers his childish whys: "What I see with certainty is that my family was made up of beings of goodwill who bent under a catastrophic heritage of too high demands, of bad conscience and guilt. "
Her mother also responds finally, and this response constitutes the last sentences of this tormented and brilliant book:
In her diary, the month of the birth of her son Ernst Ingmar, she wrote: "I pray to God, without confidence. It will undoubtedly be necessary to fend for yourself, as best we can."
How as we can.
And the three children did as well as they could, each in their own way:
"I think I was the one who did the best, with the least damage, by lying to myself. I created a character for myself that had very little to do with my real self- as I didn't know how to separate. My creation and my person, the damage that resulted from it had long consequences both in my adult life and on my creativity. Sometimes I console myself by telling myself that he who has lived in a lie loves truth."
Laterna Magica is a thick book to read at a slow pace. Otherwise, you will get lost in this flood of personal and professional memories. I have a lot of obscure references, especially in terms of theatrical direction. But we never get bored at any time as the writing is brilliant, the story of failures and faults honest:
"I want to be embarrassing, irritating and hard to locate .."
But also about his work:
"In his old age, Euripides, the builder of coins, is exiled to Macedonia. He writes The Bacchantes. Stone after stone furiously assembles: contradictions collide with contradictions, adoration with blasphemy, daily life with ritual. He has had enough lecturing; he realizes that the part with the gods is offside. Commentators have spoken of the tiredness of the old poet. It is the opposite. Euripides represents men, gods, and the world caught in a relentless and absurd movement under an empty sky.
The Bacchantes is a testament to the courage involved in breaking molds. "
Brilliant "mold-breaker," subtle and very often ironic analyst of his life - and his life and work intertwined at home - which again becomes a helpless child when the memories and mysteries of misfortunes never cleared up, and many others spring back. This misfortune seems to me after reading this. Ingmar Bergman is one of the rare filmmakers to have made me cry.
The problem with the books I love is that I would like to copy many excerpts that moved me or made me smile because it's often funny! The meeting with Karajan, for example, offers him the opportunity to direct Turandot. Come on, just a little bit, like a quote.
And also, the shooting of Autumn's Sonata started badly.
Ingmar Bergman has never been able to speak to his mother. Then, in the last chapter, listening to Bach's Christmas oratorio (the chorale walked confidently through the darker and darker space: Bach's piety soothes the pain inflicted on us by our ungodliness.) A church inspires him with a final imaginary encounter with his mother, who died long before, by entering the church's clergy, which takes him back to his childhood. He knows now is not the right time.
"- I know that I disturb, that this is the moment when the mother wants to be alone, I know it. Before dinner, father rests, and mother reads or writes in her journal; I come from the church where I have listened to Bach's Christmas oratorio, it was so beautiful, the light was beautiful, I said to myself all the time: today I will try again, and this time it will be successful. "
Try to ask the questions that undermine him: Why was my brother made a disabled person? Why was my sister reduced to a cry? Why did I live with a wound that was still infected and never healed and went right through me? All I want to know is why, behind this fragile facade of social prestige, we have experienced such appalling misery.
And her mother tells her that she is so tired.
He answers his childish whys: "What I see with certainty is that my family was made up of beings of goodwill who bent under a catastrophic heritage of too high demands, of bad conscience and guilt. "
Her mother also responds finally, and this response constitutes the last sentences of this tormented and brilliant book:
In her diary, the month of the birth of her son Ernst Ingmar, she wrote: "I pray to God, without confidence. It will undoubtedly be necessary to fend for yourself, as best we can."
How as we can.
And the three children did as well as they could, each in their own way:
"I think I was the one who did the best, with the least damage, by lying to myself. I created a character for myself that had very little to do with my real self- as I didn't know how to separate. My creation and my person, the damage that resulted from it had long consequences both in my adult life and on my creativity. Sometimes I console myself by telling myself that he who has lived in a lie loves truth."
Laterna Magica is a thick book to read at a slow pace. Otherwise, you will get lost in this flood of personal and professional memories. I have a lot of obscure references, especially in terms of theatrical direction. But we never get bored at any time as the writing is brilliant, the story of failures and faults honest:
"I want to be embarrassing, irritating and hard to locate .."
But also about his work:
"In his old age, Euripides, the builder of coins, is exiled to Macedonia. He writes The Bacchantes. Stone after stone furiously assembles: contradictions collide with contradictions, adoration with blasphemy, daily life with ritual. He has had enough lecturing; he realizes that the part with the gods is offside. Commentators have spoken of the tiredness of the old poet. It is the opposite. Euripides represents men, gods, and the world caught in a relentless and absurd movement under an empty sky.
The Bacchantes is a testament to the courage involved in breaking molds. "
Brilliant "mold-breaker," subtle and very often ironic analyst of his life - and his life and work intertwined at home - which again becomes a helpless child when the memories and mysteries of misfortunes never cleared up, and many others spring back. This misfortune seems to me after reading this. Ingmar Bergman is one of the rare filmmakers to have made me cry.
The problem with the books I love is that I would like to copy many excerpts that moved me or made me smile because it's often funny! The meeting with Karajan, for example, offers him the opportunity to direct Turandot. Come on, just a little bit, like a quote.
And also, the shooting of Autumn's Sonata started badly.
July 5, 2016
Laterna Magica shows how difficult it is to define that odd word, "autobiography". Bergman isn't very interested in telling you what happened, though you absolutely don't get the feeling that he's trying to hide anything from you either. He isn't interested in defending himself from the numerous charges that have been filed against him (sex addict, irresponsible father, tax evader, etc). What he wants to do is show you how he experienced his life from the inside, and turned that raw material into some of the 20th century's most remarkable films.
So don't read this book if you hope to find out the truth about his fight with the Swedish tax authorities, or who was to blame when his numerous marriages and amorous liaisons broke down, or to what extent he was a Nazi sympathizer. (If you really have to know what his own take was: not guilty, guilty, guilty). But if you've been wondering for ages about the origin of the hand in Persona
or the character of Desirée Armfeldt in Midsommarnattens Leenden
then you won't be able to put it down.
I suppose Bergman is a monster, but after a while you simply accept him on his own terms. That isn't the relevant question. He comes home unexpectedly in the middle of the night, his wife greets him with pleasure and surprise, and he tells her, without even removing this coat, that he's leaving her for someone else; then he uses it in Scener ur ett Äktenskap. His father beats and humiliates him, and he become the Bishop in Fanny och Alexander. Very few artists are willing to take you backstage like this and demonstrate how it all works. In the end, you see he's just the uncertain, neurotic, mythomaniac kid who receives a magic lantern and figures out how he's going to get the most out of his fantastic new Christmas present. We should all be so lucky. I loved this book.
So don't read this book if you hope to find out the truth about his fight with the Swedish tax authorities, or who was to blame when his numerous marriages and amorous liaisons broke down, or to what extent he was a Nazi sympathizer. (If you really have to know what his own take was: not guilty, guilty, guilty). But if you've been wondering for ages about the origin of the hand in Persona
or the character of Desirée Armfeldt in Midsommarnattens Leenden
then you won't be able to put it down.
I suppose Bergman is a monster, but after a while you simply accept him on his own terms. That isn't the relevant question. He comes home unexpectedly in the middle of the night, his wife greets him with pleasure and surprise, and he tells her, without even removing this coat, that he's leaving her for someone else; then he uses it in Scener ur ett Äktenskap. His father beats and humiliates him, and he become the Bishop in Fanny och Alexander. Very few artists are willing to take you backstage like this and demonstrate how it all works. In the end, you see he's just the uncertain, neurotic, mythomaniac kid who receives a magic lantern and figures out how he's going to get the most out of his fantastic new Christmas present. We should all be so lucky. I loved this book.
June 17, 2022
أود في البداية أن أشير إلى أمرين:
الأول أن برجمان هو مخرجي المفضل منذ بداية وعي بالسينما كفن وحتى اللحظة، ولم يكن ينافسه على هذه المكانة في السابق إلا فيلليني وكوروساوا وأحياناً بونويل.
الثاني أن هذا الكتاب لا يمكن قرأته كما ينبغي إلا إذا شاهدت بعض أفلام برجمان، حيث عندها سيلعب الكتاب دور الكشاف لكثير من أفلامه بل وبعض المشاهد بالخصوص. وأقترح الأفلام الثلاثة التالية بالأخص لمشاهدتها مسبقاً قبل قراءة الكتاب : ضوء الشتاء 1963 - ساعة الذئب 1968 - مشاهد من حياة زوجية 1973.
الكتاب نفسه عبارة عن خليط من ذكريات برجمان في طفولته وصباه وبداية حياته الفنية مع مواقف من حياته العملية في إخراج الأفلام والمسرحيات وإدارته للمسرح. الكتاب فرصة رائعة - إذا أقترنت بمشاهد أفلامه - لمعرفة كيف تكون عملية الإبداع جزء لا ينفصل عن الشخص نفسه وكيف أن الفن عمل شخصي بالأساس عندما يكون صادقاً. عندما يحكي برجمان عن حالاته العقلية والنفسية أشعر بأنه صديقي الذي أعرف عنه كل شيء بل إن هذه المشاعر والأحاسيس نُقلت إلي كما هي من خلال أفلامه العظيمة. يضاف لما سبق أن تقنية الكتابة لديه ممتازة، تشعر في أحيان كثيرة أنك تقرأ لأديب متمكن وإن كان الكتاب بالطبع ليس على مستوى فنه السينمائي.
وأحب أن أنوه إلى عدم إعطاء تقييمات برجمان لأفلامه أهمية كبيرة، فهو يشاهدها ليس كمتذوق للفن السينمائي فقط بل كمبدع لهذه الأفلام أنتظر منها شيء ما يخصه، يتعامل معها أحياناً كأعماله على المسرح والذي قضى فيه القدر الأكبر من حياته والذي يبدو أنه يفضل العمل فيه مقارنة بالسينما.
تمنيت أن يخرج الفيلم الذي أشار إليه حول صانع الأفلام المجهول في زمن السينما الصامتة. كما تمنيت أن أحضر عروضه المسرحية.
تتبقى في النهاية الإشادة بترجمة الكتاب وبسلسلة الفن السابع السورية والتي قدمت العديد من الكتب السينمائية الهامة وكانت دائماً الأفضل عربياً. المشكلة الوحيد هي في ترجمة أسماء الأفلام التي كان يجب إما ذكر أسمها بالإنجليزية أو على الأقل الاسم التي أشتهرت به في الكتابات العربية.
الأول أن برجمان هو مخرجي المفضل منذ بداية وعي بالسينما كفن وحتى اللحظة، ولم يكن ينافسه على هذه المكانة في السابق إلا فيلليني وكوروساوا وأحياناً بونويل.
الثاني أن هذا الكتاب لا يمكن قرأته كما ينبغي إلا إذا شاهدت بعض أفلام برجمان، حيث عندها سيلعب الكتاب دور الكشاف لكثير من أفلامه بل وبعض المشاهد بالخصوص. وأقترح الأفلام الثلاثة التالية بالأخص لمشاهدتها مسبقاً قبل قراءة الكتاب : ضوء الشتاء 1963 - ساعة الذئب 1968 - مشاهد من حياة زوجية 1973.
الكتاب نفسه عبارة عن خليط من ذكريات برجمان في طفولته وصباه وبداية حياته الفنية مع مواقف من حياته العملية في إخراج الأفلام والمسرحيات وإدارته للمسرح. الكتاب فرصة رائعة - إذا أقترنت بمشاهد أفلامه - لمعرفة كيف تكون عملية الإبداع جزء لا ينفصل عن الشخص نفسه وكيف أن الفن عمل شخصي بالأساس عندما يكون صادقاً. عندما يحكي برجمان عن حالاته العقلية والنفسية أشعر بأنه صديقي الذي أعرف عنه كل شيء بل إن هذه المشاعر والأحاسيس نُقلت إلي كما هي من خلال أفلامه العظيمة. يضاف لما سبق أن تقنية الكتابة لديه ممتازة، تشعر في أحيان كثيرة أنك تقرأ لأديب متمكن وإن كان الكتاب بالطبع ليس على مستوى فنه السينمائي.
وأحب أن أنوه إلى عدم إعطاء تقييمات برجمان لأفلامه أهمية كبيرة، فهو يشاهدها ليس كمتذوق للفن السينمائي فقط بل كمبدع لهذه الأفلام أنتظر منها شيء ما يخصه، يتعامل معها أحياناً كأعماله على المسرح والذي قضى فيه القدر الأكبر من حياته والذي يبدو أنه يفضل العمل فيه مقارنة بالسينما.
تمنيت أن يخرج الفيلم الذي أشار إليه حول صانع الأفلام المجهول في زمن السينما الصامتة. كما تمنيت أن أحضر عروضه المسرحية.
تتبقى في النهاية الإشادة بترجمة الكتاب وبسلسلة الفن السابع السورية والتي قدمت العديد من الكتب السينمائية الهامة وكانت دائماً الأفضل عربياً. المشكلة الوحيد هي في ترجمة أسماء الأفلام التي كان يجب إما ذكر أسمها بالإنجليزية أو على الأقل الاسم التي أشتهرت به في الكتابات العربية.
August 24, 2010
vote·harvesting (vōt·′här·və·stiŋ) v. 1. writing brief, generally worthless Goodreads reviews, usually of one's back-catalogue, in order to increase one's (net) vote yield; 2. producing many (usually short, irrelevant) reviews with little regard for quality. n. 1. the act of vote·harvesting. See also vote harvest; e.g., He can expect to see a large cumulative vote harvest from his one-sentence reviews of all those Little Golden Books.
Although my specific recollections of this book are as spotty as a poorly-secured maxi pad on a light flow day, I can say that it didn't leave me with a very favorable impression of Ingmar Bergman, the man. He never bothered to discuss the stuff I really wanted to read about (like behind-the-scenes gossip -- duh), but instead dwelt on his continuing problems with nervous diarrhea and his total lack of interest in his own children. He was apparently immensely inconvenienced by the manifold (nine) fetuses that resulted from his serial-fucking. He wrote about his kids as if they were dental appointments. For root canals even. (But maybe that's just my distorted residual impression.)
Did I mention the diarrhea? He talks about being enslaved to the porcelain throne during the periods leading up to the debuts of his stage productions. Normally, I'd like this kind of detail -- it's right up my (heh) alley -- but in this case I'm resentful because I imagine these bowel-related reveries taking the place of fun stuff. Like GOSSIP! There's really none of it. You may want to hear about Gunnar Björnstrand's sex-with-midget fetish or Gunnel Lindblom's tantrum at the craft services table or Sven Nykvist's addiction to speedballing and IKEA meatballs... but no. Aside from the diarrhea, this is one of those proper, dignified affairs. There's not even much insight into his films.
If you were doing a Q&A with the Berg (premortem, natch), you'd probably be all, like, 'The beginning to Persona: WTF, right?' But he's not interested in satisfying your banal curiosities. He'd rather tell you about his childhood fondness for magic lanterns... which is 'interesting' but also very kinda *yawn*.
Although my specific recollections of this book are as spotty as a poorly-secured maxi pad on a light flow day, I can say that it didn't leave me with a very favorable impression of Ingmar Bergman, the man. He never bothered to discuss the stuff I really wanted to read about (like behind-the-scenes gossip -- duh), but instead dwelt on his continuing problems with nervous diarrhea and his total lack of interest in his own children. He was apparently immensely inconvenienced by the manifold (nine) fetuses that resulted from his serial-fucking. He wrote about his kids as if they were dental appointments. For root canals even. (But maybe that's just my distorted residual impression.)
Did I mention the diarrhea? He talks about being enslaved to the porcelain throne during the periods leading up to the debuts of his stage productions. Normally, I'd like this kind of detail -- it's right up my (heh) alley -- but in this case I'm resentful because I imagine these bowel-related reveries taking the place of fun stuff. Like GOSSIP! There's really none of it. You may want to hear about Gunnar Björnstrand's sex-with-midget fetish or Gunnel Lindblom's tantrum at the craft services table or Sven Nykvist's addiction to speedballing and IKEA meatballs... but no. Aside from the diarrhea, this is one of those proper, dignified affairs. There's not even much insight into his films.
If you were doing a Q&A with the Berg (premortem, natch), you'd probably be all, like, 'The beginning to Persona: WTF, right?' But he's not interested in satisfying your banal curiosities. He'd rather tell you about his childhood fondness for magic lanterns... which is 'interesting' but also very kinda *yawn*.
February 26, 2023
إيه اول 3 حاجات فكرت فيها بعد ما خلصت الكتاب ده؟
إني عايز أقرأه تاني .. إن ده أفضل كتاب قرأته السنة دي .. إن ده أفضل كتاب قرأته في حياتي.
أول فيلم إتفرجت عليه لبيرغمان كان "الختم السابع" و رغم إنه فيلم قصير لكن هتحس إنك إتفرجت على ملحمة، عدت فترة طويلة و بعد كده إتفرجت على "التوت البري" و حسيت إنه فلسفي جداً و إني مفهمتوش من أول مرة، لكن الفيلمين أكدولي إن صانعهم واحد من أعظم صناع/عباقرة السينما في التاريخ.
الكتاب عبارة عن جزئين مخلوطين على بعض، جزء عن تجارب "بيرغمان" السينمائية و مغامراته و المشاكل اللي قابلها و علاقته بالنساء. و الجزء الثاني بيتكلم فيه عن طفولته و عن صراعه مع والده و صراعة مع عيلته عموماً. ميزة الكتاب ده إنه مش مجرد ذكريات سينمائية و خلاص، بالعكس، الكتاب بيقدم دروس لأي حد بيحب السينما و نفسه يبقى مخرج. إتضح جداً في الكتاب حب "بيرغمان" للمسرح أكتر من السينما، و إتضح أكتر إنه واحد من أعظم مخرجي العالم.
picture share
إني عايز أقرأه تاني .. إن ده أفضل كتاب قرأته السنة دي .. إن ده أفضل كتاب قرأته في حياتي.
أول فيلم إتفرجت عليه لبيرغمان كان "الختم السابع" و رغم إنه فيلم قصير لكن هتحس إنك إتفرجت على ملحمة، عدت فترة طويلة و بعد كده إتفرجت على "التوت البري" و حسيت إنه فلسفي جداً و إني مفهمتوش من أول مرة، لكن الفيلمين أكدولي إن صانعهم واحد من أعظم صناع/عباقرة السينما في التاريخ.
الكتاب عبارة عن جزئين مخلوطين على بعض، جزء عن تجارب "بيرغمان" السينمائية و مغامراته و المشاكل اللي قابلها و علاقته بالنساء. و الجزء الثاني بيتكلم فيه عن طفولته و عن صراعه مع والده و صراعة مع عيلته عموماً. ميزة الكتاب ده إنه مش مجرد ذكريات سينمائية و خلاص، بالعكس، الكتاب بيقدم دروس لأي حد بيحب السينما و نفسه يبقى مخرج. إتضح جداً في الكتاب حب "بيرغمان" للمسرح أكتر من السينما، و إتضح أكتر إنه واحد من أعظم مخرجي العالم.
picture share
May 9, 2019
Ingmar Bergman’s autobiography, The Magic Lantern, may not be the “best” book that I read this year (that word carries so much weight with it), but is quite probably my favorite book of the year. It has everything one often hopes for when reading an autobiography. In it Bergman not only provides readers with a discussion of his life and work, but he also is incredibly open – removing the curtain that typically separates the front and back stage, the work is very well-written and it is very easy for readers of this work familiar with Bergman’s films to draw parallels between his life and art.
While it is said that Fanny and Alexander is Bergman’s most personal film, my margins were also crammed full of notes linking passages about Bergman’s life to his other films, like The Seventh Seal, Wild Strawberries, Hour of the Wolf, Smiles of a Summer Night, Sawdust and Tinsel, The Magician and Cries and Whispers. And in it Bergman discusses not only his relationships with actors with whom he has collaborated (Harriet Andersson, Liv Ullmann, Bibi Andersson, Victor Sjöström, Ingrid Bergman, etc.), but also with such giant figures of the cinema (and stage) as Charlie Chaplin, Greta Garbo and Laurence Olivier. However, it is odd (in retrospect) that there was really no mention of the great male actors who are in so many Bergman films, such as Max von Sydow and Gunnar Björnstrand (though Bergman does include a chapter explaining that he does not wish to discuss any of his living friends – dead ones are a different matter).
I also found it interesting the parallels between Bergman (one of my favorite filmmakers) and one of my favorite writers, Marcel Proust. Both of their collected works are really very personal. Both this book and Proust's In Search of Lost Time show us the path from boyhood to the realization of the artist’s true potential (filmmaking/stage direction and writing, respectively).
The title of Bergman’s book is The Magic Lantern, which is a very familiar object to readers of Swann’s Way. The narrative begins with Bergman’s grandmother feeding him sponge cake soaked in water. Though this plays no role in Bergman’s involuntary memory later on, it does call to mind the narrator in Proust’s work eating a madeleine soaked in a spoonful of tea. Also, Bergman, like the narrator in À la recherche du temps perdu, travels with his grandmother and experiences his first young romantic encounter on this journey. Both also reveal certain neuroses over the course of their works, which are very similar to some of my own personal demons – my mother, who is one of the most ardent believers in astrology, would probably link this to the fact that we are all born under the sign of Cancer.
The parallels between the lives of Proust and Bergman were so close that I thought one could very well devise a fun party game out of the two texts. One would read a passage from Proust (or rather Proust by way of C.K. Scott Moncrieff) and from Bergman (as translated from the Swedish by Joan Tate) and have participants guess who wrote it. I think it would be a very fun and interesting game, but then again I’m a bit odd like that.
What I found most fascinating is that nowhere in the text does Bergman give any indication of having read Proust. He cites as his greatest influence the great Swedish playwright August Strindberg, and also mentions Ibsen and (to a lesser extent) Shakespeare. He also professes a love and lifelong fascination with cinema, and particularly American films.
This is a great companion piece to Bergman’s films and to Marie Nyreröd’s documentary Bergman Island. Originally Bergman Island was a three-part documentary that dealt with three different aspects of the famous director’s life: his filmmaking, his life on the island of Fårö and his career in the theatre. The last aspect was included at Bergman’s insistence, as he was proudest of his theatrical career, something that really shines through in this text. Of course, to many modern viewers of the documentary, it is his filmmaking career that is of greatest interest. So, when the documentary started being shown in various places the aspects dealing with his theatrical career were often excluded (and they played a minimal role in the version of the film that was edited by Bergman and Nyreröd). This book contains a much deeper look into that part of Bergman’s life and career. Aware of his lifelong interest in theatre and his work as a stage director, but unfamiliar with his theatrical works themselves, I found these discussions the less interesting part of the work. But, at the same time, they are very important as they seemed to have contributed the most to Bergman’s sense of self and self-worth.
As far as memoirs go this is one of the best of the last 50 years, about a very fascinating artist and the path that he traveled, the failures he encountered and the self-doubts that he suffered with on his path to great artistry. A must-read for any fans of Bergman’s work, lovers of cinema or even for any with a passion for good books, as I don’t think one need be a Bergman fan or even be familiar with his work in order to appreciate the merits of the book itself.
While it is said that Fanny and Alexander is Bergman’s most personal film, my margins were also crammed full of notes linking passages about Bergman’s life to his other films, like The Seventh Seal, Wild Strawberries, Hour of the Wolf, Smiles of a Summer Night, Sawdust and Tinsel, The Magician and Cries and Whispers. And in it Bergman discusses not only his relationships with actors with whom he has collaborated (Harriet Andersson, Liv Ullmann, Bibi Andersson, Victor Sjöström, Ingrid Bergman, etc.), but also with such giant figures of the cinema (and stage) as Charlie Chaplin, Greta Garbo and Laurence Olivier. However, it is odd (in retrospect) that there was really no mention of the great male actors who are in so many Bergman films, such as Max von Sydow and Gunnar Björnstrand (though Bergman does include a chapter explaining that he does not wish to discuss any of his living friends – dead ones are a different matter).
I also found it interesting the parallels between Bergman (one of my favorite filmmakers) and one of my favorite writers, Marcel Proust. Both of their collected works are really very personal. Both this book and Proust's In Search of Lost Time show us the path from boyhood to the realization of the artist’s true potential (filmmaking/stage direction and writing, respectively).
The title of Bergman’s book is The Magic Lantern, which is a very familiar object to readers of Swann’s Way. The narrative begins with Bergman’s grandmother feeding him sponge cake soaked in water. Though this plays no role in Bergman’s involuntary memory later on, it does call to mind the narrator in Proust’s work eating a madeleine soaked in a spoonful of tea. Also, Bergman, like the narrator in À la recherche du temps perdu, travels with his grandmother and experiences his first young romantic encounter on this journey. Both also reveal certain neuroses over the course of their works, which are very similar to some of my own personal demons – my mother, who is one of the most ardent believers in astrology, would probably link this to the fact that we are all born under the sign of Cancer.
The parallels between the lives of Proust and Bergman were so close that I thought one could very well devise a fun party game out of the two texts. One would read a passage from Proust (or rather Proust by way of C.K. Scott Moncrieff) and from Bergman (as translated from the Swedish by Joan Tate) and have participants guess who wrote it. I think it would be a very fun and interesting game, but then again I’m a bit odd like that.
What I found most fascinating is that nowhere in the text does Bergman give any indication of having read Proust. He cites as his greatest influence the great Swedish playwright August Strindberg, and also mentions Ibsen and (to a lesser extent) Shakespeare. He also professes a love and lifelong fascination with cinema, and particularly American films.
This is a great companion piece to Bergman’s films and to Marie Nyreröd’s documentary Bergman Island. Originally Bergman Island was a three-part documentary that dealt with three different aspects of the famous director’s life: his filmmaking, his life on the island of Fårö and his career in the theatre. The last aspect was included at Bergman’s insistence, as he was proudest of his theatrical career, something that really shines through in this text. Of course, to many modern viewers of the documentary, it is his filmmaking career that is of greatest interest. So, when the documentary started being shown in various places the aspects dealing with his theatrical career were often excluded (and they played a minimal role in the version of the film that was edited by Bergman and Nyreröd). This book contains a much deeper look into that part of Bergman’s life and career. Aware of his lifelong interest in theatre and his work as a stage director, but unfamiliar with his theatrical works themselves, I found these discussions the less interesting part of the work. But, at the same time, they are very important as they seemed to have contributed the most to Bergman’s sense of self and self-worth.
As far as memoirs go this is one of the best of the last 50 years, about a very fascinating artist and the path that he traveled, the failures he encountered and the self-doubts that he suffered with on his path to great artistry. A must-read for any fans of Bergman’s work, lovers of cinema or even for any with a passion for good books, as I don’t think one need be a Bergman fan or even be familiar with his work in order to appreciate the merits of the book itself.
July 23, 2012
هكذا يروى لنا برجمان حياته غير المثالية، لا يخجل أن يخبرنا تمرده منذ صغره، توتره وعصبيته وإضطراباته الجسدية المستمرة ورغباته في القتل والعنف والخيانة، كراهيته لوالده وعلاقته المضطربة بعائلته، وأفلامه.
تلاحظ إضطراباته وسوء خُلقه فيما ذكره ويتعلق بحياته الشخصية، لكنه يتحول إلى شخص رائع عندما يتحدث عن أفلامه، عن الإضاءة، عن إختياره لأماكن التصوير. العجيب أن برجمان لم يُثني على أي عمل من أعماله، حتى الجيد منها "مثل صرخات وهمسات أو بيرسونا" تجده يتحدث عن الصعوبات التي واجهته أثناء التصوير، ومع الممثلين والمنتجين ومع توزيع بعض الأفلام.. هل تتخيلوا أن برجمان لم يرضى تقريًبا عن أي عمل من أعماله!
برجمان يحمل بداخله ثورة، لا يؤمن بالله لكنه يؤمن بالمسرح، بكاميرا التصوير، بالسيناريو، بالأشباح، بوجه ليف أولمان الساحر.. برجمان الذي يؤمن بالحياة ويخشى الموت
"أكاد لا أتعرف على هذا الإنسان الذي كنته قبل أربعين عامًا، كانت محنتي عميقة وآلية القمع عندي تعمل بشكل فعال جدًا، وبصعوبة بالغة أستطيع الآن استحضار صور تلك المرحلة. عندما كنت أشعر بالخطر كنت أعض مثل كلب خائف. لم أثق بأحد ولم أحب أحدًا ولم أشتق إلى أحد. استحوذ الجنس علىَّ فكان يدفعني إلى خيانات دائمة وكانت تعذبني الرغبة والخوف والألم والإحساس بالذنب."
تلاحظ إضطراباته وسوء خُلقه فيما ذكره ويتعلق بحياته الشخصية، لكنه يتحول إلى شخص رائع عندما يتحدث عن أفلامه، عن الإضاءة، عن إختياره لأماكن التصوير. العجيب أن برجمان لم يُثني على أي عمل من أعماله، حتى الجيد منها "مثل صرخات وهمسات أو بيرسونا" تجده يتحدث عن الصعوبات التي واجهته أثناء التصوير، ومع الممثلين والمنتجين ومع توزيع بعض الأفلام.. هل تتخيلوا أن برجمان لم يرضى تقريًبا عن أي عمل من أعماله!
برجمان يحمل بداخله ثورة، لا يؤمن بالله لكنه يؤمن بالمسرح، بكاميرا التصوير، بالسيناريو، بالأشباح، بوجه ليف أولمان الساحر.. برجمان الذي يؤمن بالحياة ويخشى الموت
"أكاد لا أتعرف على هذا الإنسان الذي كنته قبل أربعين عامًا، كانت محنتي عميقة وآلية القمع عندي تعمل بشكل فعال جدًا، وبصعوبة بالغة أستطيع الآن استحضار صور تلك المرحلة. عندما كنت أشعر بالخطر كنت أعض مثل كلب خائف. لم أثق بأحد ولم أحب أحدًا ولم أشتق إلى أحد. استحوذ الجنس علىَّ فكان يدفعني إلى خيانات دائمة وكانت تعذبني الرغبة والخوف والألم والإحساس بالذنب."
July 21, 2014
Ah yes, the old myth of the tortured male genius and all that. And an autobiography containing everything from stories on how his dad used to beat him, about discovering masturbation and girls (in roughly that order), multiple marriages and families sacrificed to his "demons" and the drive to create ART, the torment from which great ideas are born, "truthlessness" as an excuse for rambling on at length...
So sue me. Bergman was a genius film maker, and what I love about his autobiography is that everything he tells us about himself goes back to exactly that: how his life, his ideas, his experiences go back to his movies and plays. Anyone who reads this because they're interested in details of, say, his relationships with Liv Ullmann and Bibi Andersson will be disappointed; but for a well-written life story that works as a commentary track on his work at large, with some specifics on individual works, Laterna Magica is kind of brilliant. Bergman hardly uses the opportunity to paint himself in a very positive light, going on at length about his various neuroses, his failures at relationships and his initial admiration for nazism, but once again he always brings it back to the "Ah, so that's where that scene in Persona comes from" angle.
Most of our education was based around concepts like sin, confession, punishment, forgiveness and grace, concrete factors in the children's and the parents' relationships to each other and to god. (...) I think I got off easiest by turning myself into a liar. I created an outer persona who had very little to do with my real self. Since I was unable to separate my creation and my person, the damage had consequences well into my life and creativity as an adult. Sometimes I must console myself with the knowledge that he who lives a lie loves the truth.
So sue me. Bergman was a genius film maker, and what I love about his autobiography is that everything he tells us about himself goes back to exactly that: how his life, his ideas, his experiences go back to his movies and plays. Anyone who reads this because they're interested in details of, say, his relationships with Liv Ullmann and Bibi Andersson will be disappointed; but for a well-written life story that works as a commentary track on his work at large, with some specifics on individual works, Laterna Magica is kind of brilliant. Bergman hardly uses the opportunity to paint himself in a very positive light, going on at length about his various neuroses, his failures at relationships and his initial admiration for nazism, but once again he always brings it back to the "Ah, so that's where that scene in Persona comes from" angle.
Most of our education was based around concepts like sin, confession, punishment, forgiveness and grace, concrete factors in the children's and the parents' relationships to each other and to god. (...) I think I got off easiest by turning myself into a liar. I created an outer persona who had very little to do with my real self. Since I was unable to separate my creation and my person, the damage had consequences well into my life and creativity as an adult. Sometimes I must console myself with the knowledge that he who lives a lie loves the truth.
April 4, 2019
Це подорож життям генія. Часом занадто відверта і шокуюча, місцями ніжно щира і по-дитячому любляча. Ця подорож здається мені, читачеві, чесною. Перш за все перед собою з авторського погляду. Я люблю чесність, тому не полюбити книгу не могла.
Перед читанням цієї автобіографії та інших романів Берґмана наполегливо раджу подивитись кілька його стрічок і лише після того можна вважати себе готовим до відвертості творця Інґмара та його Laterna Magica.
Перед читанням цієї автобіографії та інших романів Берґмана наполегливо раджу подивитись кілька його стрічок і лише після того можна вважати себе готовим до відвертості творця Інґмара та його Laterna Magica.
April 10, 2017
أي شيطان كان يسكن مصباحك السحري ؟
إنغمار بيرغمان العبقري الساحر والمعقد
أن تشاهد فيلما لإنغمار يعني أن تسبح في لا معقوليتك،
تناقضك،جنونك.أن تشاهد فيلما لإنغمار يعني الغوص في أعمق نقاط النفوس البشرية تعقيدا .
أفلام كضوء الشتاء، شغف آنا،بيرسونا،ساعة الذئب،التوت البري ، الربيع البكر، مشاهد من حياة زوجية وغيرها الكثير.
فيلم مثل سوناتا الخريف من أكثر الأفلام ضغطا على الأعصاب ، مفزع وحقيقي لدرجة مرعبة .
هذه الأفلام التي شكلت جزء كبير من شغفي بهذا المخرج العظيم وبفن السينمابشكل عام ، هو مخرج وكاتب أيضا يعلمك كيف تشاهد فيلما سينمائيا دون شروحات ولكن بسلاسة بسيطة دون إخلال.مع الأخذ بالإعتبار أنه لا يقدم حلول مطلقا .
في سيرته الذاتية هنا تستطيع أن تتعرف عليه عن قرب
ستفهم مشاهد من بعض أفلامه ربما لم تفهمها جيدا وقت المشاهدة الأولى
يخبرك كيف حصل على نهاية فيلم كان يؤرقه عدم توصله لنهاية له رغم جاهزية كل شيء في الفيلم عدا النهاية .
هذا الفيلم هو ضوء الشتاء _أ��د أفلامه المفضلة عندي_
وقصة حصوله لنهاية للفيلم قصة رائعة وستعرف كم هو عبقري عند قراءتك لها
بيرغمان مهموم بتفاصيل التفاصيل في أفلامه .فيلم كسوناتا الخريف مثلا .هذا الفيلم المرعب ، إنغريد بيرغمان كانت تقوم فيه بدور عازفة بيانو .نجد هنا أن بيرغمان يريدها في مشهد من الفيلم أن
تنام على ظهرهاعلى أرضية خشبية لأنه يلاحظ أن معظم عازفي البيانو ظهورهم محنية ويفعلون هذا الطقس دائما لمساعدتهم بحل هذه المشكلة .
تفصيلة صغيرة قد لا تهم المشاهد أصلا ولا يلتفت لها ، حتى أن إنغريد بنفسها سخرت منهحين طلب منها ذلك .
لهذا هو إنغمار بيرغمان.
بيرجم��ن حكى هنا أيضا عدم إيمانه بوجود الله .رغم أنك تستطيع بسهولة معرفة هذا من أفلامه.
لكن هنا يأصل بشكل ما لهذا الإنكار لوجود الله .فقد كان أبوه كاهنا في كنيسة ، رجلا صارما وقاسيا لدرجة كبيرة جدا.كان إنغمار يكرهه بشدة .
تحدث عن صداقاته وعلاقاته المتعددة بالنساء وخياناته المتكررة لزوجاته .
تزوج كثيرا _ست مرات تقريبا_ أغلبها كانت خيانات وكان يعترف لزوجته بها ثم يطلقها .
ما أثارني أنه حينما كان يتحدث عن حياته في فترة زواجه من إنغريد بيرغمان لم يذكر أي شيء عن بداية علاقته بها وحتى عن طبيعة العلاقة كما فعل في باقي الزيجات.وكذلك فعل مع ليف أولمان .
لم يتحدث عن الحب كثيرا سواء حين تحدث عن علاقاته المتعددة _قال أن الجنس هو الذي كان يحركه_ أو عن أصدقائه .
يمكن تفسير هذا من خلال جملة قالها حينما كان يتحدث عن طفولته : كان أبي يذكر الحب فقط أثناء عظاته في الكنيسة، حب الله بالطبع، وعند العودة للبيت لا نجد لهذه الكلمة أثر .
يقول :لقد أخذنا أقنعة عوضا عن الوجوه ، وهيستريا عوضا عن المشاعر،والخجل والاحساس بالذنب عوضا عن الحب والتسامح..
يحكي عن فشله الإداري عندما أصبح مديرا للمسرح الوطني .عن قضيته الشهيرة مع الضرائب.وعن إخفاقاته في المسرح عشقه الأول.عن سنوات منفاه الإختياري في ألمانيا .وعن كرهه الشديد للصحافة وإنزعاجه من الصحفيين ..وعن حلمه بإنتاج فيلم بمجاميع هائلة من الناس مع موسيقى ومشاهد ملونة .ومن هنا نستطيع معرفة أهمية دور الموسيقي عند بيرغمان فقد كان يرى أن أعماله تنشأ أصلا من الموسيقى وهو لا يستطيع إلا أن يمشي في الإتجاه الذي يؤدي إليها.
من أصدق السير التي قرأتها ، صادمة ، صريحة وحقيقية .بعيدا عن الخجل والزيف والحيادية المزعجة
تجربة ممتعة بقدر المتعة التي أخذتها من مشاهدة أفلام هذا العبقري السويدي الرائع .
إنغمار بيرغمان العبقري الساحر والمعقد
أن تشاهد فيلما لإنغمار يعني أن تسبح في لا معقوليتك،
تناقضك،جنونك.أن تشاهد فيلما لإنغمار يعني الغوص في أعمق نقاط النفوس البشرية تعقيدا .
أفلام كضوء الشتاء، شغف آنا،بيرسونا،ساعة الذئب،التوت البري ، الربيع البكر، مشاهد من حياة زوجية وغيرها الكثير.
فيلم مثل سوناتا الخريف من أكثر الأفلام ضغطا على الأعصاب ، مفزع وحقيقي لدرجة مرعبة .
هذه الأفلام التي شكلت جزء كبير من شغفي بهذا المخرج العظيم وبفن السينمابشكل عام ، هو مخرج وكاتب أيضا يعلمك كيف تشاهد فيلما سينمائيا دون شروحات ولكن بسلاسة بسيطة دون إخلال.مع الأخذ بالإعتبار أنه لا يقدم حلول مطلقا .
في سيرته الذاتية هنا تستطيع أن تتعرف عليه عن قرب
ستفهم مشاهد من بعض أفلامه ربما لم تفهمها جيدا وقت المشاهدة الأولى
يخبرك كيف حصل على نهاية فيلم كان يؤرقه عدم توصله لنهاية له رغم جاهزية كل شيء في الفيلم عدا النهاية .
هذا الفيلم هو ضوء الشتاء _أ��د أفلامه المفضلة عندي_
وقصة حصوله لنهاية للفيلم قصة رائعة وستعرف كم هو عبقري عند قراءتك لها
بيرغمان مهموم بتفاصيل التفاصيل في أفلامه .فيلم كسوناتا الخريف مثلا .هذا الفيلم المرعب ، إنغريد بيرغمان كانت تقوم فيه بدور عازفة بيانو .نجد هنا أن بيرغمان يريدها في مشهد من الفيلم أن
تنام على ظهرهاعلى أرضية خشبية لأنه يلاحظ أن معظم عازفي البيانو ظهورهم محنية ويفعلون هذا الطقس دائما لمساعدتهم بحل هذه المشكلة .
تفصيلة صغيرة قد لا تهم المشاهد أصلا ولا يلتفت لها ، حتى أن إنغريد بنفسها سخرت منهحين طلب منها ذلك .
لهذا هو إنغمار بيرغمان.
بيرجم��ن حكى هنا أيضا عدم إيمانه بوجود الله .رغم أنك تستطيع بسهولة معرفة هذا من أفلامه.
لكن هنا يأصل بشكل ما لهذا الإنكار لوجود الله .فقد كان أبوه كاهنا في كنيسة ، رجلا صارما وقاسيا لدرجة كبيرة جدا.كان إنغمار يكرهه بشدة .
تحدث عن صداقاته وعلاقاته المتعددة بالنساء وخياناته المتكررة لزوجاته .
تزوج كثيرا _ست مرات تقريبا_ أغلبها كانت خيانات وكان يعترف لزوجته بها ثم يطلقها .
ما أثارني أنه حينما كان يتحدث عن حياته في فترة زواجه من إنغريد بيرغمان لم يذكر أي شيء عن بداية علاقته بها وحتى عن طبيعة العلاقة كما فعل في باقي الزيجات.وكذلك فعل مع ليف أولمان .
لم يتحدث عن الحب كثيرا سواء حين تحدث عن علاقاته المتعددة _قال أن الجنس هو الذي كان يحركه_ أو عن أصدقائه .
يمكن تفسير هذا من خلال جملة قالها حينما كان يتحدث عن طفولته : كان أبي يذكر الحب فقط أثناء عظاته في الكنيسة، حب الله بالطبع، وعند العودة للبيت لا نجد لهذه الكلمة أثر .
يقول :لقد أخذنا أقنعة عوضا عن الوجوه ، وهيستريا عوضا عن المشاعر،والخجل والاحساس بالذنب عوضا عن الحب والتسامح..
يحكي عن فشله الإداري عندما أصبح مديرا للمسرح الوطني .عن قضيته الشهيرة مع الضرائب.وعن إخفاقاته في المسرح عشقه الأول.عن سنوات منفاه الإختياري في ألمانيا .وعن كرهه الشديد للصحافة وإنزعاجه من الصحفيين ..وعن حلمه بإنتاج فيلم بمجاميع هائلة من الناس مع موسيقى ومشاهد ملونة .ومن هنا نستطيع معرفة أهمية دور الموسيقي عند بيرغمان فقد كان يرى أن أعماله تنشأ أصلا من الموسيقى وهو لا يستطيع إلا أن يمشي في الإتجاه الذي يؤدي إليها.
من أصدق السير التي قرأتها ، صادمة ، صريحة وحقيقية .بعيدا عن الخجل والزيف والحيادية المزعجة
تجربة ممتعة بقدر المتعة التي أخذتها من مشاهدة أفلام هذا العبقري السويدي الرائع .
December 16, 2020
Bergman, herregud vad ska man säga. Skönt för honom att han slapp vara med i vår moderna tid, metoo hade inte varit honom nådig.
Att läsa den här boken är att förvandlas till psykolog på symptomjakt.
Hans ”dämoner”, aggressivitet, sexualitet, ångest och sömnlöshet - att det aldrig slog honom att det var hans etiska kompass som försökte larma om att han handlade fel. Han betedde sig som en skitstövel, milt sagt. Hans ego visste inga gränser. Frågan är om han inte led av personlighetsstörning? Kanske var det därför film och teater lockade honom. Där är distinktionen mellan verklighet och saga tillåten, där kunde han skapa en verklighet som han önskade och fly sin egen. Han ljög konstant, var notoriskt otrogen, megalomanisk, refererade till sig själv som Bergman, han menade att Greta Garbo hade ful mun, han förnekade inte bara gudstro utan tron på godhet.
Han ville bli ihågkommen, hade inget att förlora och ville förstås väcka uppmärksamhet. Han tycktes vara immun mot utveckling eller så var han en extremt late bloomer. I en ålder av 68 år anklagade han sin mor för sin trasiga personlighet. Han frågade (henne): ”Fick vi masker istället för ansikte, fick vi hysteri istället för känslor, fick vi skam och skuld istället för ömhet och förlåtelse?”
Laterna magica handlar om Bergman själv, hans bromance med Strindberg, teater och kvinnor. Döttrarna nämns inte ens med namn. Man kan verkligen inte anklaga honom för försköning av något, inte heller sig själv. Men med en sådan sjuk personlighet och skruvad sexualitet borde han skämmas, att han inte gjorde det är bekymmersamt och nog ytterligare ett symptom.
Han proklamerar att kärleken är det viktigaste i livet, men tycktes tyvärr sakna förmågan eller viljan att odla kärleken till andra och inte enkom till sig själv. Eftersom han misslyckades med allt annat antar jag att han satsade allt på att lyckas inom sitt arbete.
Boken är till viss del underh��llande och njutbar att läsa trots sin brutalitet. Man får ju hoppas och tro att inte allt är sant. Jag föredrar bitarna från barndomen.
Fyra svaga ⭐️⭐️⭐️💫
Att läsa den här boken är att förvandlas till psykolog på symptomjakt.
Hans ”dämoner”, aggressivitet, sexualitet, ångest och sömnlöshet - att det aldrig slog honom att det var hans etiska kompass som försökte larma om att han handlade fel. Han betedde sig som en skitstövel, milt sagt. Hans ego visste inga gränser. Frågan är om han inte led av personlighetsstörning? Kanske var det därför film och teater lockade honom. Där är distinktionen mellan verklighet och saga tillåten, där kunde han skapa en verklighet som han önskade och fly sin egen. Han ljög konstant, var notoriskt otrogen, megalomanisk, refererade till sig själv som Bergman, han menade att Greta Garbo hade ful mun, han förnekade inte bara gudstro utan tron på godhet.
Han ville bli ihågkommen, hade inget att förlora och ville förstås väcka uppmärksamhet. Han tycktes vara immun mot utveckling eller så var han en extremt late bloomer. I en ålder av 68 år anklagade han sin mor för sin trasiga personlighet. Han frågade (henne): ”Fick vi masker istället för ansikte, fick vi hysteri istället för känslor, fick vi skam och skuld istället för ömhet och förlåtelse?”
Laterna magica handlar om Bergman själv, hans bromance med Strindberg, teater och kvinnor. Döttrarna nämns inte ens med namn. Man kan verkligen inte anklaga honom för försköning av något, inte heller sig själv. Men med en sådan sjuk personlighet och skruvad sexualitet borde han skämmas, att han inte gjorde det är bekymmersamt och nog ytterligare ett symptom.
Han proklamerar att kärleken är det viktigaste i livet, men tycktes tyvärr sakna förmågan eller viljan att odla kärleken till andra och inte enkom till sig själv. Eftersom han misslyckades med allt annat antar jag att han satsade allt på att lyckas inom sitt arbete.
Boken är till viss del underh��llande och njutbar att läsa trots sin brutalitet. Man får ju hoppas och tro att inte allt är sant. Jag föredrar bitarna från barndomen.
Fyra svaga ⭐️⭐️⭐️💫
October 23, 2023
أجمل ما في السيره الذاتيه هو الصدق وإعادة النظر في مواقف وتصرفات غبيه، مؤلمه (للشخص نفسه او للآخر)، كارثيه، مؤثره، أياً كان ومش عشان يرجع يصلح، -الموضوع انتهى-، لأ مجرد سرد وإنصاف لعظام الموتى ولخشب مهدم وأرواح هائمه او حتى مجرد البوح، السيره الذاتيه هي فرصه أخيره للسرد الغير منحاز لا لنفسه ولا للآخرين، كلمه أخيره اعتراف لأب اعتراف غير آبه او غير موجود.
شكراً بيرجمان
شكراً بيرجمان
August 10, 2016
I have no recollection of the moment I started watching and liking (that came in time, though) Bergman, since none of my friends and acquaintances had any taste in his films whatsoever. There must have been different listopias with his films, like '100 films to watch in a lifetime' or stuff like that.
Anyway, what struck me in Bergman’s several films I’ve seen so far ('Persona' being by far my favorite) was the deep sense of simplicity, the austere and grave atmosphere. Most of them being B/W, the films I’ve seen seem rather gloomy than enjoyable (in the broad sense most people refer to a film when they use the term), somber and cold but tense and with a strong (sometimes – most of the times?- weird and twisted) relation between the characters.
In the book I found a man totally different from what I imagined; an inconvenient and undesirable person, like a bull in a china shop, fighting depression and IRS (or whatever the Swedish Fiscal authority is called), permanently struggling to support his numerous family members (he was married 5 times). I sort of admire his courage to speak freely about intimate and uncomfortable issues like his relationship with his parents, God’s absence or his infidelities. I was quite surprised to find that he was not only successful with his films, but also a prominent theater director. And I praise his decision to use childhood memories or real-life facts in his films.
***
Cel mai mult duc dorul colaborarii cu Sven Nykvist. Aceasta se datoreaza, probabil, faptului ca amindoi sintem captivati cu totul de problema luminii: lumina blinda, periculoasa, lumina ca de vis, lumina vie, moarta, clara, cetoasa, fierbinte, rece, puternica, brusca, intunecata, primavarateca, dreapta, oblica, senzuala, supusa, limitata, otravitoare, linistitoare, lumina luminoasa. Lumina.
***
Unul din motivele pentru care-mi place Bergman. Pentru ca ilustreaza (in carte, ca si in filme) atit de fain conceptul de sunshine and silent rooms, pe care l-am descoperit (si de care m-am amorezat fara scapare) in picturile lui Hammershøi, Ilsted si Holsøe.
Iarna era pe sfirsite si lumina soarelui aparea si disparea cu miscari rapide si silentioase pe deasupra draperiilor si a tablourilor. In dreptul capului meu se inalta imensa masa din sufragerie. Mi-am sprijinit spatele de unul din picioarele arcuite ale mesei. Scaunele din jurul mesei precum si peretii aveau o tapiterie de piele aurie, innegrita de timp, emanind un miros de ceva vechi. In spatele meu, o servanta se inalta ca un castel, carafele de sticla si cupele de cristal sclipeau in lumina miscatoare. Pe perete, in partea stinga, atirna un tablou mare cu case galbene, rosii si albe. Case rasareau din apa albastra plina de barci mari.
Orologiul din sufragerie, care ajungea aproape pina la plafonul de stucatura, vorbea cu el insusi, morocanos si nepasator. De acolo de unde stateam puteam privi in salonul in care totul era verde: pereti, covoare, mobile, draperii chiar si ferigi si palmieri crescind acolo tot in vase verzi. O cunosteam pe doamna alba si goala, cu bratele taiate. Statea putin aplecata in fata, privindu-ma cu un suris vag. Pe comoda pintecoasa cu feronerii si picioare aurii ticaia un ceas aurit, sub un clopot de sticla. Un tinar cintind la flaut se sprijinea de cadran. Aproape lipita de el se afla o doamna micuta, cu o palarie mare si o rochie scurta si infoiata, ambele figurine erau aurite. Cind batea ora douasprezece, tinarul cinta la flaut iar fata dansa.
Lumina soarelui stralucea puternic, facind sa scinteie prismele in candelabrele de cristal, alunecind peste picturile cu casele ce cresteau din apa, dezmierdind albul statuii. Si din nou bateau clopotele, si din nou fata de aur dansa iar baiatul cinta, doamna cea goala intorcea capul sa-mi faca un semn. Moartea isi tira coasa pe linoleumul de pe coridorul intunecat, o presimteam, ii vedeam craniul galben si surisul, silueta neagra, desirata, conturindu-se de cealalta parte a geamurilor de la usa exterioara.
Anyway, what struck me in Bergman’s several films I’ve seen so far ('Persona' being by far my favorite) was the deep sense of simplicity, the austere and grave atmosphere. Most of them being B/W, the films I’ve seen seem rather gloomy than enjoyable (in the broad sense most people refer to a film when they use the term), somber and cold but tense and with a strong (sometimes – most of the times?- weird and twisted) relation between the characters.
In the book I found a man totally different from what I imagined; an inconvenient and undesirable person, like a bull in a china shop, fighting depression and IRS (or whatever the Swedish Fiscal authority is called), permanently struggling to support his numerous family members (he was married 5 times). I sort of admire his courage to speak freely about intimate and uncomfortable issues like his relationship with his parents, God’s absence or his infidelities. I was quite surprised to find that he was not only successful with his films, but also a prominent theater director. And I praise his decision to use childhood memories or real-life facts in his films.
***
Cel mai mult duc dorul colaborarii cu Sven Nykvist. Aceasta se datoreaza, probabil, faptului ca amindoi sintem captivati cu totul de problema luminii: lumina blinda, periculoasa, lumina ca de vis, lumina vie, moarta, clara, cetoasa, fierbinte, rece, puternica, brusca, intunecata, primavarateca, dreapta, oblica, senzuala, supusa, limitata, otravitoare, linistitoare, lumina luminoasa. Lumina.
***
Unul din motivele pentru care-mi place Bergman. Pentru ca ilustreaza (in carte, ca si in filme) atit de fain conceptul de sunshine and silent rooms, pe care l-am descoperit (si de care m-am amorezat fara scapare) in picturile lui Hammershøi, Ilsted si Holsøe.
Iarna era pe sfirsite si lumina soarelui aparea si disparea cu miscari rapide si silentioase pe deasupra draperiilor si a tablourilor. In dreptul capului meu se inalta imensa masa din sufragerie. Mi-am sprijinit spatele de unul din picioarele arcuite ale mesei. Scaunele din jurul mesei precum si peretii aveau o tapiterie de piele aurie, innegrita de timp, emanind un miros de ceva vechi. In spatele meu, o servanta se inalta ca un castel, carafele de sticla si cupele de cristal sclipeau in lumina miscatoare. Pe perete, in partea stinga, atirna un tablou mare cu case galbene, rosii si albe. Case rasareau din apa albastra plina de barci mari.
Orologiul din sufragerie, care ajungea aproape pina la plafonul de stucatura, vorbea cu el insusi, morocanos si nepasator. De acolo de unde stateam puteam privi in salonul in care totul era verde: pereti, covoare, mobile, draperii chiar si ferigi si palmieri crescind acolo tot in vase verzi. O cunosteam pe doamna alba si goala, cu bratele taiate. Statea putin aplecata in fata, privindu-ma cu un suris vag. Pe comoda pintecoasa cu feronerii si picioare aurii ticaia un ceas aurit, sub un clopot de sticla. Un tinar cintind la flaut se sprijinea de cadran. Aproape lipita de el se afla o doamna micuta, cu o palarie mare si o rochie scurta si infoiata, ambele figurine erau aurite. Cind batea ora douasprezece, tinarul cinta la flaut iar fata dansa.
Lumina soarelui stralucea puternic, facind sa scinteie prismele in candelabrele de cristal, alunecind peste picturile cu casele ce cresteau din apa, dezmierdind albul statuii. Si din nou bateau clopotele, si din nou fata de aur dansa iar baiatul cinta, doamna cea goala intorcea capul sa-mi faca un semn. Moartea isi tira coasa pe linoleumul de pe coridorul intunecat, o presimteam, ii vedeam craniul galben si surisul, silueta neagra, desirata, conturindu-se de cealalta parte a geamurilor de la usa exterioara.
December 23, 2018
Em honra do centenário de Ingmar Bergman
Quem diria que um dos maiores cineastas de todos os tempos estaria totalmente rendido ao teatro em sua autobiografia? Sua vida foi o teatro, é nele que reside as maiores descrições técnicas e sentimentais sobre os ofícios que exercia, gosto de como Bergman mescla essa labuta diária com rápidos lampejos do cinema e a forma como estrutura o livro entre capítulos que narram a infância alternadamente com a fase adulta, na medida que atingem um ponto comum ao final.
Aliás, já estava completamente inquieta e indignada que Bergman não havia citado o Gunnar Björnstrand uma única vez no livro todo, o ator com quem mais trabalhara e pelo qual sou apaixonadíssima, até ler o capítulo que ele disse que não falaria dos amigos nesse livro e fiquei mais aliviada.
Um livro relevante para conhecer a intimidade que Bergman nos deixa ver, nem com tantos detalhes, mas com detalhes suficientes para delinearmos uma persona que foi humana e errou muito, mas que nos deixou um legado em película maior do que si.
https://letterboxd.com/ladyspiggott/l...
Quem diria que um dos maiores cineastas de todos os tempos estaria totalmente rendido ao teatro em sua autobiografia? Sua vida foi o teatro, é nele que reside as maiores descrições técnicas e sentimentais sobre os ofícios que exercia, gosto de como Bergman mescla essa labuta diária com rápidos lampejos do cinema e a forma como estrutura o livro entre capítulos que narram a infância alternadamente com a fase adulta, na medida que atingem um ponto comum ao final.
Aliás, já estava completamente inquieta e indignada que Bergman não havia citado o Gunnar Björnstrand uma única vez no livro todo, o ator com quem mais trabalhara e pelo qual sou apaixonadíssima, até ler o capítulo que ele disse que não falaria dos amigos nesse livro e fiquei mais aliviada.
Um livro relevante para conhecer a intimidade que Bergman nos deixa ver, nem com tantos detalhes, mas com detalhes suficientes para delinearmos uma persona que foi humana e errou muito, mas que nos deixou um legado em película maior do que si.
https://letterboxd.com/ladyspiggott/l...
March 23, 2015
Τι πολυτάραχ�� ζωή είχε ο μεγάλος Σουηδός σκηνοθέτης! Μέσα από το αυτοβιογραφικό του βιβλίο, αναδεικνύονται οι προσωπικές του στιγμές, οι οικογενειακές αναταράξεις, οισχέσεις του με φίλους και γυναίκες, όλα αυτά που τα έδειξε στις ταινίες του. Οι φίλοι του θα πρέπει οπωσδήποτε να το διαβασουν
January 22, 2012
I don't know if I was upset at myself or Bergman for being so disappointed with this memoir. I expected to read more about his actual artistic output, a la Tarkovsky's Sculpting in Time.
What's most infuriating I realise now after having finished the book: he wants to seem very honest and open in his writing, making reference to this childhood ordeal or that crumbling personal relationship, but I perceive no such openness as a reader, only an attempt at it. It could be the translation. Then again, it might just be that I have to forget most of what I've read about his personal life and get on with it, watch his films without the background that I never really wanted.
I'm not against neurotic people who have been deprived of parental love. But Bergman's failures in life might have been from living his true life in film, and that's where you ought to go looking for his memoirs. He was a bastard to lots of people in his life, swinging between his own issues: self-loathing and self-congratulating. But he was wonderful to audiences everywhere. But what you capture with light cannot, for the most part, be done with a pen (Tarkovsky somehow managed both).
The good parts in the book are when he doesn't focus on himself: the bit about his girlfriend's piano teacher, and her terrible wartime experience; also one of the last chapters, revolving around his father. I'd have been better off re-reading Sculpting in Time.
What's most infuriating I realise now after having finished the book: he wants to seem very honest and open in his writing, making reference to this childhood ordeal or that crumbling personal relationship, but I perceive no such openness as a reader, only an attempt at it. It could be the translation. Then again, it might just be that I have to forget most of what I've read about his personal life and get on with it, watch his films without the background that I never really wanted.
I'm not against neurotic people who have been deprived of parental love. But Bergman's failures in life might have been from living his true life in film, and that's where you ought to go looking for his memoirs. He was a bastard to lots of people in his life, swinging between his own issues: self-loathing and self-congratulating. But he was wonderful to audiences everywhere. But what you capture with light cannot, for the most part, be done with a pen (Tarkovsky somehow managed both).
The good parts in the book are when he doesn't focus on himself: the bit about his girlfriend's piano teacher, and her terrible wartime experience; also one of the last chapters, revolving around his father. I'd have been better off re-reading Sculpting in Time.
April 30, 2020
বারিমানের অটোবায়োগ্রাফি পড়লাম গত দুদিনে। বইটা সিনেমায় অনাগ্রহী বা ইনডিফরেন্টদের বিরক্তিকর লাগার সম্ভাবনা আছে। ঈশ্বরতুল্য একজন আর্টিস্ট নিজেকে প্রতিনিয়ত নীচু করে মাটিতে টেনে নামাচ্ছে দেখে ভালো লাগবে না। আহ, সেই হিসেবে সিনেফাইলেরাও গোস্বা করতে পারে।
বারিমানের জীবন প্রচুর ইনসিকিউরিটিময়। সিদ্ধান্তে শত বিভ্রান্তি। ব্যক্তিজীবন থেকে সিনেমাগুলো সরাসরি প্রভাবিত।
আশ্চর্যজনক হলেও এই বই জুড়ে থিয়েটার নিয়ে স্মৃতি রোমন্থন প্রচুর। আশ্চর্যজনক কারণ তাঁর থিয়েটার জীবন নিয়ে আমার কখনও কোন আগ্রহ জাগেনি। বা মনে মনে হয়েছে থিয়েটার তাঁরে গতিবিধি সীমাবদ্ধ। কিন্তু না। সে হিসেবে সিনেমাজীবন নিয়ে আলাপ তেমন নেই। অবশ্য সেসব মাই লাইফ ইন ফিল্মে পাওয়া যাবে।
সিনেমাগুলো কেবল সিনেমা থেকে দেখা যায়। আবার বারিমানের জীবনের সাপেক্ষে দেখলে নতুন করে দেখা হবে। তাঁর আর্টিস্টিক সিদ্ধান্তের পেছনের কার্যকারণ বোঝা যাবে।
বারিমান ঈইশ্বর হয়েও ব্যক্তি জীবনে সাধারণ মানুষ। লিপ্সায় ছুটেছেন, চারটা ব্যর্থ বিয়ের পর পঞ্চমে থিতু হয়েছেন। ছেলে বেলায় উদোম পাছায় পাদ্রী বাবার বেদম বেতের বাড়ি খেয়েছেন। শারীরিক অসুস্থতা বেতালের মত লেগে রয়েছে। ক্ষণকালের জন্যে পাগল হয়ে পাগলাগারদের এন্টি-ডিপ্রেসেন্ট ড্রাগে বুঁদ হয়ে ক্লান্তি, জরাহীন দিনানিপাতে কাটিয়েছেন। কৈশোরের প্রেম, প্রথম মাস্টারবেশন, অনুশোচনা, অনুতাপ, এতসব স্পিরিচুয়াল সিনেমার পরেও ঈশ্বরে অবিশ্বাস — বারিমানের সকল রূপ মুক্ত।
তবে সাবধান — কিছু ক্ষেত্রে ভ্রান্ত ইম্প্রেশনও ছুটে যেতে পারে। কল্পিত ঈশ্বরকে কল্পনায় রেখে দেয়ার ইচ্ছে খুবই বোধগম্য।
আর্ন্সট ইংমার বারিমান আমার খুব প্রিয় একজন মানুষ, পরিচালক, অনুপ্রেরণাদায়ক চরিত্র। প্রিয়দের ব্যক্তিজীবন নিয়ে ঘাটাঘাটি করার বিপদ আছে। একটা পাতলা পর্দা থাকা উচিৎ। তবে পর্দা উঠিয়ে যদি অনুরাগ ধরে রাখা যায়, তবে সে অনুরাগের প্রকার পালটে যায়। অন্যরকম, ব্যক্তিগত অনুরাগ।
বারিমানের জীবন প্রচুর ইনসিকিউরিটিময়। সিদ্ধান্তে শত বিভ্রান্তি। ব্যক্তিজীবন থেকে সিনেমাগুলো সরাসরি প্রভাবিত।
আশ্চর্যজনক হলেও এই বই জুড়ে থিয়েটার নিয়ে স্মৃতি রোমন্থন প্রচুর। আশ্চর্যজনক কারণ তাঁর থিয়েটার জীবন নিয়ে আমার কখনও কোন আগ্রহ জাগেনি। বা মনে মনে হয়েছে থিয়েটার তাঁরে গতিবিধি সীমাবদ্ধ। কিন্তু না। সে হিসেবে সিনেমাজীবন নিয়ে আলাপ তেমন নেই। অবশ্য সেসব মাই লাইফ ইন ফিল্মে পাওয়া যাবে।
সিনেমাগুলো কেবল সিনেমা থেকে দেখা যায়। আবার বারিমানের জীবনের সাপেক্ষে দেখলে নতুন করে দেখা হবে। তাঁর আর্টিস্টিক সিদ্ধান্তের পেছনের কার্যকারণ বোঝা যাবে।
বারিমান ঈইশ্বর হয়েও ব্যক্তি জীবনে সাধারণ মানুষ। লিপ্সায় ছুটেছেন, চারটা ব্যর্থ বিয়ের পর পঞ্চমে থিতু হয়েছেন। ছেলে বেলায় উদোম পাছায় পাদ্রী বাবার বেদম বেতের বাড়ি খেয়েছেন। শারীরিক অসুস্থতা বেতালের মত লেগে রয়েছে। ক্ষণকালের জন্যে পাগল হয়ে পাগলাগারদের এন্টি-ডিপ্রেসেন্ট ড্রাগে বুঁদ হয়ে ক্লান্তি, জরাহীন দিনানিপাতে কাটিয়েছেন। কৈশোরের প্রেম, প্রথম মাস্টারবেশন, অনুশোচনা, অনুতাপ, এতসব স্পিরিচুয়াল সিনেমার পরেও ঈশ্বরে অবিশ্বাস — বারিমানের সকল রূপ মুক্ত।
তবে সাবধান — কিছু ক্ষেত্রে ভ্রান্ত ইম্প্রেশনও ছুটে যেতে পারে। কল্পিত ঈশ্বরকে কল্পনায় রেখে দেয়ার ইচ্ছে খুবই বোধগম্য।
আর্ন্সট ইংমার বারিমান আমার খুব প্রিয় একজন মানুষ, পরিচালক, অনুপ্রেরণাদায়ক চরিত্র। প্রিয়দের ব্যক্তিজীবন নিয়ে ঘাটাঘাটি করার বিপদ আছে। একটা পাতলা পর্দা থাকা উচিৎ। তবে পর্দা উঠিয়ে যদি অনুরাগ ধরে রাখা যায়, তবে সে অনুরাগের প্রকার পালটে যায়। অন্যরকম, ব্যক্তিগত অনুরাগ।
March 15, 2022
لأني أحب بيرجمان وعالمه بشكل تلقائي كنت مأخوذة بسيرته.. هذا الرجل الذي وددت على الدوام لو أقابله لمرة وحيدة بينما هو يتابع صنعته الوحيدة التي أجادها.
January 17, 2024
I can never view this man in the same way again. Loved it tho. Master of the dreamscape.
November 25, 2018
ბერგმანი ჩემი ერთ-ერთი ფავორიტი რეჟისორია, მაგრამ ბევრი არაფერი ვიცოდი მასზე და შეიძლება ითქვას, რომ ცოტათი გაკვირვებულიც კი დავრჩი ამ წიგნით. მიუხედავად იმისა, რომ მის ფილმებში კარგად ჩანს მისი ხასიათი და ემოციები ვერასოდეს წარმოვიდგნედი რომ მისი ცხოვრება ამდენ იმედგაცრუებას, დამცირებას და უბრალოდ ცხოვრების მრავალჯერ ხელახლა დაწყებას ითვლიდა. მკაცრი და ჯიუტი ბუნების პატრონი რომ იყო ბავშვობიდანვე ეტყობოდა და სიცოცხლის ბოლომდეც შეინარჩუნა ეს ორი თვისება, ალბათ ამიტომაც იყო გამორჩეული შვილი და ვხედავთ კიდეც რომ ბოლომდე გაიტანა თავისი. ჩემთვის ინდიფერენტული ადამიანის შთაბეჭდილება დატოვა, ვერც ის ვიგრძენი უყვარდა თუ არა ვინმე ჭეშმარიტად, ფაქტი რომ თავის თავდაპირველ სექსუალურ გამოცდილებაზე ასე გულღიად საუბრობს, საკმაოდ თამამი ნაბიჯია, როგორც ვხედავთ თავისი ავადმყოფობის ამბავზეც საკმაოდ კომიკურად საუბრობს და სულ არ მალავს როგორ დარბოდა ტუალეტში გამუდმებით. მაგრამ ფაქტია თავისი ცხოვრებისეული ტრაგედიის, ავადმყოფობის და ყოველ ჯერზე პროფესიული ფიასკოს სხვებამდე მიტანა კარგად გამოუვიდა. წიგნში ვიქტორ შებერგი მიმართავს ბერგმანს - ,,შენი სცენები ზედმეტად ჩახლართულია, არ შეიძლება ყველა წვრილმანი მნიშვნელოვან მოვლენად აქციო, მაყურებელი ამდენს ვერ იტანს“. მის ფილმებზე ზუსტად ასეთი ასოციაცია მიჩნდება და ბევრჯერ მითქვამს იგივე, ალბათ იმ იმედგაცრუებამ, რომ მისი არასოდეს არავის ესმოდა, ღრმად გაიდგა ფესვები მასში და არც ფილმებში გახადა ბოლომდე ყველაფერი გასაგები ყველასთვის. რაც ყველაზე მნიშვნელოვანია გავითავისე რომ ცხოვრებაში შეიძლება ათასგზის დაეცე, მაგრამ ყოველთვის მოახერხებ წამოდგომას თუკი ამას მოინდომებ, თუნდაც ქვემოდან გამუდმებით ვიღაც გექაჩებოდეს. ვერასოდეს წარმოვიდგენდი, რომ ასეთი არაჩვეულებრივი ფილმების ავტორს ცხოვრებაში წარმატებაზე მეტი იმედგაცრუება ხვდა წილად, რის გამოც მუდმივად საკუთარი თავისგან გაქცევა სურდა.
Read
August 4, 2021نمی دونم چه‌طور شد که به این صفحه رسیدم (آخرین تلاش‌هام در نوشتن چیزکی برای کتاب‌ها چند وقتیه به نتیجه نمی‌رسه). حتی یادم نمیاد این کتاب رو کِی خوندم؟ یا اصلا خوندم؟ (احتمالاً طرفای سال نود-نود و یک، زمانی که سعی زیادی می‌کردم تا خودم رو بهش علاقه‌مند بکنم و احتمالاً پُز بدم) هیچ‌وقت چندان از برگمان و فیلم‌هاش خوشم نمیومد؛ جز توت فرنگی‌های وحشی و تا حدی پرسونا... بقیه‌ی فیلم‌ها برام غیر قابل فهم، شعاری و گل درشت اند... حتی کلوزآپ های معروفش هم دیگه مثل قبل روم تاثیر نمی‌ذارن... ولی فقط یک چیز هست که به خاطرش تا ابد ممنون برگمان خواهم بود: باخ
چند وقت پیش که خواستم «هم‌چون در یک آینه» رو ببینم (و طبق معمول در نهایت خسته شدم)، روی تیتراژ شروع که این موسیقی رو شنیدم، مو به تنم سیخ شد. امروز داشتم ساراباندِ «چلو سوئیت دو» رو گوش می‌کردم و متوجه شدم که این همون موسیقیه...
.
https://s18.picofile.com/file/8438944...
چند وقت پیش که خواستم «هم‌چون در یک آینه» رو ببینم (و طبق معمول در نهایت خسته شدم)، روی تیتراژ شروع که این موسیقی رو شنیدم، مو به تنم سیخ شد. امروز داشتم ساراباندِ «چلو سوئیت دو» رو گوش می‌کردم و متوجه شدم که این همون موسیقیه...
.
https://s18.picofile.com/file/8438944...
May 24, 2016
Berman's movies are a passion for me, so I absolutely devoured this book - however, it does not contain that much insights into his methods. Hence the three stars.
August 18, 2023
A mesmerizing memoir by a film director that I have admired my entire life. The time line is staggered with reminiscences from childhood, early student days and his marriages as well as numerous affairs. I realized that I had never understood how turbulent his life was even though his films should have been strong clues to such issues. In particular I enjoyed his memories from childhood which are colorful, psychological and memorable. His description of the politics of the theater in Sweden (and later the IRS tax litigations) are quite a rollercoaster with plenty of sarcasm and barbs. The memoir feels honest and inspiring. I very much appreciate that Bergman was willing to publish this material. After all, he was one of Sweden's (and the world's) greatest film makers. Time to revisit his films!
January 18, 2019
ქართული თარგმანით წავიკითხე. ვერ ვპოულობ აქ. გასაკვირად აღფრთოვანებული დავრჩი, აქამდე მისი რამდენიმე პროზა მქონდა წაკითხული და დიდი არაფერი, ჩვეულებრივი ტექსტები, კინონარატივით, ზედ ეტყობოდა რეჟისორის ხელი. ამ წიგნში ყველაფერი პირიქითაა - დიდი მწერლის წიგნს ვკითხულობდი მეგონა რაღაც მომენტში.
და, ხო, ერთი, საშუალო დონის პროზაული წიგნი აქვს "გულახდილის საუბრები", ხოდა ამ წიგნს უფრო უხდება ეგ სათაური. ძლიერი უნდა იყო, რომ ასეთი გულახდილობა გქონდეს <3
და, ხო, ერთი, საშუალო დონის პროზაული წიგნი აქვს "გულახდილის საუბრები", ხოდა ამ წიგნს უფრო უხდება ეგ სათაური. ძლიერი უნდა იყო, რომ ასეთი გულახდილობა გქონდეს <3
November 16, 2023
ta ei tõepoolest ei säästa oma kirjeldustes kedagi, isegi mitte lugejat.
noh, soovitan!
noh, soovitan!
Read
December 30, 2022Ja nej otrolig. Alla som är på minsta sätt intresserade av antingen skapande eller Sverige under perioden 1940-90 borde läsa (alltså alla).
Hade tänkt att 2022 skulle ha varit mitt Bergman år men tror att alla ��r ska bli mina Bergman år.
Hade tänkt att 2022 skulle ha varit mitt Bergman år men tror att alla ��r ska bli mina Bergman år.
July 15, 2022
I would say that if you're looking for a book that is more of a deep dive by Bergman on his specific films, or film-by-film director's commentary, I would say you're probably looking for either Images: My Life in Film or (my preferred) Bergman on Bergman: Interviews with Ingmar Bergman.
Instead, what you get in this book is the life story of a brilliant and very complex artist, narrated by a master storyteller. It is such a unique autobiography, as it is written and structured so similarly to the best of his screenplays: It seamlessly passes from comedy, to taboo, to cruelty, to tragedy. It jumps around in time, and goes in and out of dreams and nightmares. It is all told with a razor sharp wit and unrestrained honesty. It plays out as only a Bergman film would.
Despite what I wrote above, the book isn't lacking completely in commentary or background on his films or filmmaking. In fact, the way it is weaved into this book is actually pretty fascinating, as you'll discover parallels between some his personal stories and the specific films they inspired.
If you're a fan of Bergman, this is a must read. If you're looking to dive into Bergman for this first time, this book may prepare you for what's ahead. In all, it is a great story of an artist and all the successes and failures that come with this chosen path as well as the childhood traumas, anxieties and even joys which shape this path.
Instead, what you get in this book is the life story of a brilliant and very complex artist, narrated by a master storyteller. It is such a unique autobiography, as it is written and structured so similarly to the best of his screenplays: It seamlessly passes from comedy, to taboo, to cruelty, to tragedy. It jumps around in time, and goes in and out of dreams and nightmares. It is all told with a razor sharp wit and unrestrained honesty. It plays out as only a Bergman film would.
Despite what I wrote above, the book isn't lacking completely in commentary or background on his films or filmmaking. In fact, the way it is weaved into this book is actually pretty fascinating, as you'll discover parallels between some his personal stories and the specific films they inspired.
If you're a fan of Bergman, this is a must read. If you're looking to dive into Bergman for this first time, this book may prepare you for what's ahead. In all, it is a great story of an artist and all the successes and failures that come with this chosen path as well as the childhood traumas, anxieties and even joys which shape this path.
February 7, 2017
هنا برغمان يمسك قلم الاديب ليحكي قصة المسرحي والكاتب والرجل والفتى وذكريات الطفولة التي اصبحت في مابعد المصباح الذي يغذي بضوئه أعماله الجديرة والانيقة التي تليق باسمه ، احببت هذه السيرة ومروري على بعض اعماله السينمائية ومشاهدتها كان مرتبا مع توقيتي للقاء مع هذا الرائع ومازلت اتوق لمشاهدة المزيد .
December 12, 2022
Allright, Bergman. I've been heavily into his films for the longest time, I'm not even sure why. Yes, they are extremely talkative and pretty boring too, but there's much power. I've seen Fanny and Alexander maybe 15 times and I cry every time, it's one of my favourites of all time. And as an artist Bergman was interesting because he was so extremely productive. So many films, so many projects. I read somewhere that the script for Fanny and Alexander was 1000 pages long, written by hand.
I've been meaning to read this for maybe 15 years, but found this now, in a second hand store for free.
It was very interesting in so many ways, I think I've never read a memoir this open. Going through dirty childhood games, violence and abuse and sexuality and many things that explain many things.
He is admitting to heiling Hitler, for god's sake! This is a man who could've easily written a laid-back memoir with some reminiscing of good ole times. But here he is telling about cheating and running away and violence and being molested and throwing his feces and what else.
It didn't turn its gaze for one second.
Bergman wasn't a good person, in any way. But he gave us a lot of consolation.
And he was a human being, after all.
I'm a bit sceptic writing that. I'll check the documentary on him, soon.
I've never seen him as charismatic and this wasn't that either. He is a kid, forever a kid, that's it, that's why he is so good. It's so easy: to be a great artist you need to have the eyes of a kid and just produce a lot of stuff. You can't fail working with that recipe.
A very good book, I'd say. You can't make this shit up.
I've been meaning to read this for maybe 15 years, but found this now, in a second hand store for free.
It was very interesting in so many ways, I think I've never read a memoir this open. Going through dirty childhood games, violence and abuse and sexuality and many things that explain many things.
He is admitting to heiling Hitler, for god's sake! This is a man who could've easily written a laid-back memoir with some reminiscing of good ole times. But here he is telling about cheating and running away and violence and being molested and throwing his feces and what else.
It didn't turn its gaze for one second.
Bergman wasn't a good person, in any way. But he gave us a lot of consolation.
And he was a human being, after all.
I'm a bit sceptic writing that. I'll check the documentary on him, soon.
I've never seen him as charismatic and this wasn't that either. He is a kid, forever a kid, that's it, that's why he is so good. It's so easy: to be a great artist you need to have the eyes of a kid and just produce a lot of stuff. You can't fail working with that recipe.
A very good book, I'd say. You can't make this shit up.
Displaying 1 - 30 of 245 reviews