Why Ingmar Bergman is so Great?
Imagine you’re a filmmaker and you’ve given a scene to direct, where a character discovers his wife in the intimate company of someone else. Here are two different examples from two different movies.
The first example is from a movie “The Unforgivable” where camera tracks the character as he opens the door revealing the graphic scene, which immediately cuts to close-up of his face, capturing his initial reaction.
Another example is from Ingmar Bergman’s 1953 film “Summer with Monica.” Here camera is stationed in a fixed position gradually panning upward as the character approaches, skillfully directing our attention to the character’s movement. Both the character and the camera come to a synchronized halt at a specific moment, crafting a distinct shape of the character’s face as the light illuminates it, drawing our focus to the character’s eyes.
In “The Unforgivable,” the sudden revelation upon opening the door not only startled the character but also left the audience equally shocked. This scene skillfully captures the entirety of the situation, ensuring a clear understanding of the unfolding events.
But Bergman goes beyond than that, he employed camera blocking techniques, but the intriguing aspect lies in his deliberate choice of not cutting the scene to reveal what the character witnesses. He allows the camera to linger on the character’s face. This approach engages the audience in active contemplation, evoking a sense of unease by withholding the expected cut. The deliberate decision mirrors the internal state of the character, building a connection between the audience and the character’s emotional turmoil. Bergman masterfully translates the character’s internal state to the audience, creating a shared and immersive experience
Ingmar Bergman, a prominent figure in the world of cinema, was a Swedish filmmaker whose profound impact on the art of storytelling continues to resonate across generations. Born in 1918, Bergman’s prolific career spanned over six decades, during which he crafted a diverse and influential body of work that explored the complexities of the human psyche and existential dilemmas. Renowned for his deep psychological insights, meticulous craftsmanship, and innovative narrative techniques, Bergman’s films such as “The Seventh Seal,” “Wild Strawberries,” and “Persona” are celebrated as masterpieces of world cinema.
In this video essay I’m offering you the glimpse of Ingmar Bergman’s world, providing an introduction for those interested in an exploration of his films. For those already familiar with his work, consider this essay a tribute to the brilliance of Ingmar Bergman.
As you immerse yourself in Bergman’s films, you’ll encounter recurring themes and techniques that define his unique cinematic style. These include the exploration of dreams and memory, contemplation of existential dilemmas surrounding God, death, faith, and the nuanced examination of complex human relationships, often within a familial context. The profound use of close-ups, as witnessed in an earlier example, further exemplifies Bergman’s distinctive directorial approach. Additionally, his background as a theatre director adds another layer of uniqueness to his film direction.
This essay will shed light on all these mentioned aspects, unraveling the rich tapestry of Ingmar Bergman’s cinematic artistry. (Spoiler talk)
Dreams and Memories:
Once Bergman has said in an interview, “No other art form neither painting nor poetry can communicate the specific quality of the dream as well as the film can. When the lights go down in the cinema and this white shining point opens up for us, our gaze stops flitting here and there, settles and becomes quite steady. We just sit there, letting the images flow out over us. Our will ceases to function. We lose our ability to sort things out and fix them in their proper places. We’re drawn into a course of events–we’re participants in a dream. And manufacturing dreams, that’s a juicy business.”
Bergman believed that dream is the natural state of cinema. In a dream time and space no longer exist and cinema possesses a unique ability to manipulate viewers’ perceptions of these dimensions. An unconventional camera angle, an abrupt cut, an unexpected sound, the very fundamentals of filmmaking suggests that what unfolds on screen cannot be trusted as real. Just as in dreams the reality on film can’t be trusted.
Most vividly realized dream world of Bergman’s career takes shape in 1957’s “Wild Strawberries.” Dr Isaac Borg, an elderly emotionally reserved professor, travels to the University with his daughter-in-law to accept an honorary degree. The film is a psychic journey of Dr Borg that unfolds over the course of a single-day trip, forcing him to re-examine his past choices and uncertainties that lie ahead in his future.
In the initial dream sequence of “Wild Strawberries” Dr. Borg dreamt that he lost his way in some abandoned streets, where he encountered a clock without hand, the clock in his pocket lack hands as well. Subsequently, an unmanned horse carriage delivers a coffin to him, revealing his own presence within. This dream vividly captures Dr. Borg’s profound fear of death, a haunting sentiment that permeates his elderly existence.
In another dream, Isaac grapples with guilt and regret as he engages in a conversation with Sara, his first love, who ultimately leaves him for his brother Sigfrid. Following that he undergoes an examination where he observes only a mere reflection of his eyes through the microscope, struggles to comprehend the language written on the board, and encounters a patient who bursts into laughter upon his examination. This dream poignantly captures Isaac’s complex emotional landscape.
In addition to dreams, memories also play a significant role in Bergman’s films. He uses memories as a powerful tool to capture the internal states of his characters, vividly portraying their experiences of fear, guilt, longing, and peace — themes that consistently resurface throughout his films.
In his 1972 film “Cries and Whispers,” Bergman employs flashbacks drawn from the characters’ memories as a means of introduction. The narrative revolves around the intricate relationship between three sisters — Maria and Karin, who visit their terminally ill sister Agnes to provide care. Through Maria’s flashback, we witness her affair with the family doctor, revealing her indifferent nature and the burden of guilt she carries. Karin’s flashback, on the other hand, portrays her platonic relationship with her husband, emphasizing his cold demeanor and her yearning for warmth. While, the ailing sister reminisces about her mother, unveiling the beautiful relationship they once shared.
In her final days, Agnes reflects on the beautiful moment she shared with her sisters, expressing gratitude for the richness of life. A similar sentiment is echoed in “Wild Strawberries” when Isaac recalls blissful childhood memories from summer, reminiscing about his parents fishing together.
Existential Dilemmas:
In “Wild Strawberries,” Bergman introduces two boys sharing a lift with Dr. Borg and his daughter-in-law, accompanied by a girl. Though their roles don’t prominently contribute to the core narrative, they exist within the film’s framework.
In one scene the boys engage in a philosophical discourse to win the favor of Sarah, the girl accompanying them. Their debate revolves around existential questions, with one identifying as a modern rationalist and the other professing belief in God. The former asserts that man approaches death in fear, contrasting with the latter’s argument that man believes in himself at the moment of death. Drawing parallels, one compares religion to opium, while the other compares rationality to dry dust.
In all of that Sarah playfully states, “ohh they both sound good, I always prefer to choose what I hear last,” Dr. Borg refrains from offering an opinion, stating that anything he says would be met with tolerant irony.
This nuanced exchange feels as if Bergman is talking to himself, using these characters as a tool to depict the conflicting perspectives he might experience as a skeptic.
Bergman’s 1957 film “The Seventh Seal” serves as an extension of the themes explored in the previous scene, delving deeper into existential questions about religion, faith, and death. The film introduces so many different characters, each embarking on a journey that unfolds the profound inquiries surrounding mortality.
The premise revolves around a knight who, on his way home, encounters Death, tasked with taking his life. The knight challenges Death to a game of chess. Throughout the film, the omnipresence of death manifests, sometimes symbolically through a pandemic and at other times quite literally. Every character reacts differently to death; their varied reactions contribute to the rich tapestry of existential exploration within the narrative.
Persona is another film where Bergman once again engages in the exploration of existential conversations, taking a step further by depicting two characters in conflict whose identities gradually blur. As the narrative unfolds, the emotional and psychological struggles of these characters become intricately entwined. The film suggests that these two figures are not distinct individuals but rather two facets of a singular person, blurring the boundaries between their identities and intensifying the psychological complexity of the story
Bergman’s fascination with existential conversations can be attributed to a combination of personal experiences, philosophical influences, and the cultural context of his time. Shaped by a strict Lutheran upbringing and personal struggles with illness and mortality, Bergman explored existential themes in his films. Influenced by existentialist philosophers like Sartre and Camus, he grappled with questions about the meaning of life, individual responsibility, and the complexities of human relationships.
Bergman’s deep psychological exploration of characters, coupled with the post-World War II existentialist movement, provided him with a rich canvas for cinematic expression. “The Seventh Seal” and “Persona,” reflect his keen interest in probing the profound aspects of the human condition and the search for meaning in an often perplexing world.
Complex Human Relationships:
In “Wild Strawberries,” Dr. Borg shares the unsettling impact of his dreams with his daughter-in-law Marianne, expressing a sense of being alive yet dead. In response, Marianne draws parallels between Dr. Borg and his son Evald, by narrating a poignant incident when she revealed her pregnancy to Evald. Evald expresses hesitation about becoming a parent, reflecting on his own troubled upbringing, He says he is product of a dreadful relationship for him it doesn’t make sense to have kid. He metaphorically describes his desire to be as lifeless as a stone, contrasting with Marianne’s desire for liveliness.
Observing the emotional distances within the family Marianne further adds, by watching Dr. Borg with his mother, she became aware of the shared emotional coldness, loneliness, and a sense of emotional numbness that extend across generations in their family not just in her son but also in her grandson. Similar portrayal of relationship is evident in “Autumn Sonata”, where a daughter harbors resentment towards her mother, highlighting her parenting mistake.
Bergman’s exploration of intricate human connections extends to his other films such as “Cries and Whispers,” “Scenes from a Marriage,” and even “Summer with Monica.” In these works, he consistently captures the nuanced and complex dynamics that characterize various aspects of human relationships.
Unique Direction:
At the start of the video, we examined an instance of Bergman’s unconventional shot composition, emphasizing the significance of the character’s face. As we explored Bergman’s mastery in exploring interpersonal relationships and delving into the complexities of the human psyche, we acknowledged the importance of the human face in expressing these profound feelings. While there are YouTube videos that delves into Bergman’s profound use of the human face, our focus is on understanding Bergman’s fascination for using the human face.
In a notable interview, Bergman told that, according to him, the most powerful close-up he ever captured in his career was in the concluding scene of “Wild Strawberries,” where Dr. Borg reflects on memories of his parents. During the shoot, Bergman and the actor Viktor Sjöström were in a state of frustration; Sjöström, not in the right mood, was seated in a corner. Despite this, Bergman called him to take the shot, started the camera, and unexpectedly, something profound and captivating emerged in that moment of spontaneity.
In a different interview, Bergman shared another instance; this one from the film “Cries and Whispers,” focusing on the scene where the elder sister Agnes dies. Bergman expressed the unique significance of this particular scene, highlighting the profound nature of Agnes’s gaze at Anna, the maid, just before her death. In that moment, it seemed as if something intangible had departed from their shared existence.
Bergman trying to express the idea that certain magical moments occur spontaneously, which are beyond the realm of intentional acting or rehearsal. In the spur of the moment, something from the subconscious emerges, and to capture the subtlety and beauty of these authentic instances, he emphasized the importance of placing the camera close to the face. This proximity allows the camera to capture glimpses of those genuine, unscripted moments that hold a unique authenticity and depth.
In addition to his distinctive shot compositions, Bergman’s films possess a theatrical quality, evoking the feel of a play. This unique characteristic may be attributed to his background as a theatre director, suggesting that this quality may have originated from his experiences in the realm of theater.
Bergman’s films frequently unfold within confined settings, featuring a limited cast of characters. For instance, “Cries and Whispers” is set predominantly in a mansion with only 4–5 characters, and a similar pattern is observed in “Persona,” where a significant portion takes place in a cottage with just two characters. “Autumn Sonata” follows suit.
In these movies, the dialogue scenes bear a resemblance to theatrical performances. Notably, the conversation scenes between the mother and daughter in “Autumn Sonata” encapsulate the essence of the narrative. Similarly, in “Persona,” the graphic narration of Alma’s sexual story is conveyed primarily through dialogue, specifically through monologues.
This minimalist approach to setting and emphasis on dialogue adds a distinctive theatrical quality to Bergman’s films.
Conclusion:
In conclusion, Ingmar Bergman’s cinematic brilliance extends beyond mere storytelling; it lies in his remarkable ability to navigate the intricate landscapes of human relationships and delve into the profound recesses of the human psyche. His films, often confined to limited spaces and characters, echo a theatrical ambiance — a nod to his background as a theatre director. Bergman’s distinctive shot compositions and his skill in capturing spontaneous, authentic moments contribute to the enduring impact of his narratives.
Whether grappling with existential questions, unraveling the complexities of family dynamics, or probing the human experience through rich dialogue, Bergman’s films serve as a testament to his unparalleled insight into the human condition. His legacy, marked by technical mastery and a profound exploration of the emotional tapestry that binds us together, continues to resonate across generations, cementing his status as a cinematic maestro and a timeless interpreter of the human experience.
By Mahesh Bochare
