How did Enrique Bergman become a famous director?

Enrique Bergman was born in Uppsala, Sweden, on July 19 18. His father, Enrique Bergman, was a devout Lutheran and served as a priest for a long time. My mother is a lady of high society, headstrong and withdrawn. Father's strict control over Bergman reached a cruel level, and Bergman's childhood life was shrouded in a severe and depressing atmosphere, which had a far-reaching impact on Bergman's later creation. Bergman began to fantasize since he was a child. He himself said that once, he heard the piano sound of his neighbor's house and suddenly imagined Venus standing in front of his window. Perhaps his extraordinary imagination makes his films unique. A critic once said: "The perfect combination of imagination and screen action is a major feature of Bergman's films." Fantasy, rebellious attitude towards society and family, casual behavior and lack of attention to clothes are all distinctive features of Bergman. Gunnar Fisher, who started filming him on 1948, once described the scene when he first met Bergman: "Once, we were reviewing a movie in the office, and a young man in rags came in. After entering the door, he lay on the floor without saying a word, took his arm as a pillow, didn't even say a word for half an hour, and finally left without saying goodbye.

From 65438 to 0937, Bergman entered Stockholm University to study literature and art history. He has read many famous playwrights, such as Shakespeare and Strindberg. At the same time, he often hangs out in the amateur theater of the school students, writes plays, directs plays and plays roles. After graduating from university, he worked as a drama director in Gothenburg, helsingborg and Stockholm Royal Theatre, which laid a solid foundation for his future film director career. 1944, Bergman wrote the first screenplay "Torture", which sharply criticized the brutal, autocratic and cruel oppression of students by the Swedish school education system, and was made into a film by Alf Schoenberg. 1945 Bergman directed his first film Crisis. In the early 1950s, Bergman became mature in film art. In the middle and late 1950s, with the completion of the filming of Smile on a Summer Night, The Seventh Seal, Wild Strawberry and The Magician, Bergman became one of the world famous directors. In 1960s and 1970s, most of Bergman's works aimed at peeping into people's souls with cameras, such as The Silent Trilogy, namely Byakki Smoker (196 1 year), Winter Light (1962) and Silence (/kloc). During this period, Bergman mostly adopted the structural form of indoor psychological drama to show the vast space-time changes of people's minds in a seemingly narrow space. 1977, Bergman filmed the anti-fascist film Snake Egg. 1978, he filmed his most dramatic film Autumn Sonata, describing the contradiction between career and family, the gap between mother and daughter, and their love and hate. The film stars ingrid bergman. 198 1 year, Bergman set out to shoot Fanny and Alexander, which he called "the last film". This is the film with the most roles, the most complicated plot, the largest scale, the widest vision, the most expensive shooting cost and the screening time of more than three hours. This film has 60 characters with lines and 65,438+0,200 extras. It is a family chronicle that combines comedy, tragedy, farce and horror movies. The themes and characters in Bergman's past films, as well as everything he is obsessed with, are repeated in this film. He claimed that the film was "a summary of his career as a director" and a "relaxed hymn to love life".

People know Bergman mainly because of wild strawberries. This is a very old film, which was made as early as 1953. This is a black and white film. In this film, we can see the shooting techniques adopted by Bergman before other contemporary film directors: the dreams at the beginning of the film are constantly interspersed, and memories are intertwined with reality, so it is difficult to distinguish between true and false.

The whole film focuses on the memories and some people and things that the protagonist professor and daughter-in-law met on the way to receive the award, and accurately depicts the psychological transformation process of a heartless old man before his death. The old man has a smooth sailing and a successful career, which can be seen from the respect he received at the gas station. However, he adopted an indifferent attitude towards his family. For example, when I was young, I always took a frivolous attitude towards my cousin, and I didn't know the stupidity until I was old. Turn a blind eye to the plight of his son and daughter-in-law and force them to pay back the money; Ignoring his wife's needs and desires leads her to find another way out emotionally; He is dissatisfied with the loyal old nanny and is picky in every way. The highlight of this film is a quarrel between a couple on the road. Bergman's description of the unbearable and hateful situation between the couple is simply incisive and chilling. When the husband said "I have my Catholicism, she has her hysteria" and laughed at his wife's tears in public, the wife slapped her husband in the face because she couldn't stand it. The audience seems to feel the same way. The object of sympathy changed from a wife to a husband in less than a few seconds, which deeply experienced Bergman's exquisite directing skills of controlling the audience's emotions and arbitrarily grasping the audience's feelings. The little girl hitchhiking on the way is one of the highlights of this movie. She reminded the professor of his cousin and brought a lot of joy to everyone along the way. On the night of parting, she took two boyfriends and sang a love song for the professor downstairs, which made people see the delicacy and kindness of a girl in her naughty and careless character. Of course, her handling of love is not flattering, but the jealousness and jealousy of two boys and the debate about God also set off a small climax for the film. Finally, the ending of the film is not satisfactory. The old man won the lottery and his daughter-in-law and son got back together. Finally, the old man is no longer afraid of nightmares and can sleep in peace.

This is Bergman's early film work, which is famous for its cold and rude rational style. Like the cold wind in the north, it goes straight to the depths of the problem. Concise, but too tough. Often discuss some major metaphysical issues, such as man and god, man's original sin and secular suffering, and survival in the shadow of death. The film is a little thin because of the heavy load, which is reflected in his works in the 1950s, such as The Seventh Seal and The Spring of Our Lady. This is an awe-inspiring but unspeakable "old" Bergman, just like the silent old man in Wild Strawberry.

In 1960s, Bergman's film creation and personal thoughts experienced a serious crisis. He retreated from the meditative sky to the intimate and realistic world, and the supernatural theme suddenly withdrew. He said in an interview: "I made a clean break with the entire religious superstructure. God is gone, and I, like everyone else on earth, have become an independent person under the vast sky. " Bach's concise and rigorous music broke into Bergman's rational world at this time. At that time, Bergman even had to put down all his work and study Bach's ideas in depth with Swedish music historian Kobe Bryant. Although it was not put into practice for various reasons, Bach's grand and vast music, especially those pious and simple adagio works, undoubtedly left a deep imprint on Bergman's creation in the middle and late period. Bach's music has been borrowed to varying degrees in Byakki Smoker, Silence, Anna's Suffering, Mask, Scream, Whispering and other works. From a rich cello unaccompanied suite to a pure Goldberg variation, Bach's music, as a model of polyphony, has almost perfect internal balance and musical logic, which makes people suspect that it is the product of careful calculation. For Bach, music is a "hidden rational experience" to reach God, which accords with Bergman's inner rational concern. But Bach's music, as an incredible ontological phenomenon like the universe itself (in Shi Huaizhe), undoubtedly means more things, a quiet and pure emotion, creating a soft and warm emotional atmosphere; An introverted emotional expression softens the thick and blunt lines in Bergman's films, and turns those abstract rational thoughts into a whisper of the soul silently, and slowly immerses into the depths of the soul.

Let's take Shouts and Whispers as an example to understand the unique touching power that Bach's simple and beautiful melody has given Bergman's speculative films. Bergman's masterpiece depicts four women with different personalities in detail: Anne who is dying, her sisters Karin and Maria, and the maid Anna. Loneliness, pain and inability to communicate are still the themes of the film. The whole movie is an unrecognizable whisper and a cry of grief, accompanied by this incomprehensible whisper is the Salabande dance in cello suites's fifth song. Cello singing close to human voice, like a doctor's sigh, gently soothes the injured soul in darkness and loneliness, and soothes the loneliness and sadness of the soul. In the picture, Karin and Maria, who rarely talk, hug each other tightly. We know from the script that they respond to each other in soft language. However, in movies, music transcends the power of language and builds a bridge between souls. This is the only real communication between the two sisters. Bach's soft music slowly flows into people's hearts like a clear stream. Everything that should be healed is healed, and the only eternal thing is the deep concern for individual sincere love and the harmony and beauty of human nature.

When the language is weak, music becomes a complex and "direct" way of information transmission (between roles or between roles and movie audiences). Bergman's film soundtrack, as Livingston pointed out, "can' touch' all the places in the film and touch hope, commitment and loneliness." This contact is short-lived, long-lasting, superficial or real. "Bergman" don't believe in language. He thinks music is more "reliable" and "the most perfect symbol". Different from other directors who regard music as a secondary form, Bergman's film music itself is a narrative (although it is wordless), and it is an indispensable form in his other works, just to support and enrich the film narrative. Bergman always makes sure that we can get all the necessary information and appreciate his superb film skills. His works always present an artistic aesthetic feeling, and he consciously pays attention to the artistic structure of movies, especially the flashback lens of "oil painting". But it also gives us a very "natural" and uncut appearance and feeling. We can say that "(his) works are simple, or there is a kind of magic." "

In "Autumn Sonata", the director explored and innovated the artistic form, expanded the space of film performance, and made the whole film glow with indescribable brilliance. The form of "circuitous and simple plot mode and confusing and simple photography skills" corresponds to the complex emotional entanglements and psychological activities of the characters, especially the subtle changes in the relationship between the two protagonists. In the second half of the film, the close-up is cool, and the two protagonists are almost cruelly examined. We see that their pain now and the distant years are gradually blending and coming down in one continuous line. Autumn Sonata discusses the weakness of human nature and the artistic technique of breaking away from convention. Close-ups of Bergman are often pushed very close, almost "through their faces". Bergman seems to realize that "it may be a lie to reveal the hidden truth by relying on the actress's facial expressions, because it is art". Bergman never discusses the truth because "it doesn't exist! Behind every face (the most obvious example is Charlotte's), there is another face, and then there is another face ... In a thousandth of a second, an actor can give people a completely different impression, but because the continuity between them is too fast, what you see is only a real body. " For the whole movie, truth is just a metaphor, because "a movie sequence composed of continuous pictures is just a group of moving images to the naked eye". The "authenticity" of any art form, such as sonata, is selective, subjective and illusory, so it must also contain emotional elements. Bergman seems to deeply understand that to reveal the goodness and evil in the depths of human nature, the truth is often accompanied by cruelty.

Bergman seems to be particularly interested in indifferent affection, so we might as well infer that he had an unfortunate childhood, otherwise he would not have such an accurate understanding of similar misfortunes between husband and wife and between parents and children.

Bergman turned from the great tension between man's earthly pain and God's sacred silence to the existential questioning of personal earthly situation, and how the communication between lonely individuals became the subject of his repeated questioning. There is no explanation why Bergman's films always leave a deep impression on us. His films are full of unspeakable poetry. Godard captured a kind of flickering magic in it, which was an "unspeakable secret". The beauty of the image is fleeting. When discussing Bergman's works, Godard said that they are "like starfish that open and close, revealing the secrets of the world and hiding it." This is the only storage room and charming reflection. The truth is their truth, and they bury the truth deeply in their hearts. Every shot is tearing the screen and then dissipating in the wind. "

Although respected, Bergman himself admits that he can't watch his own movies because they will make him feel depressed. "I don't often watch my movies. I will become nervous and cry almost at any time ... very painful. " Bergman mentioned that his happiest memory was 1985 when he received the Medal of Honor from the French government in Paris. "When we came out of the Elysee Palace, there was a huge limousine waiting for us, and there were four policemen riding motorcycles in front." "This may be one of the few moments when I feel happy because of my fame. The feeling was so wonderful that I fell on the floor of this cart with a smile. " He also recalled the pain he suffered when showing a film in Munich, Germany. "This may be the only hangover in my life. This is not just ordinary drunkenness. I am very excited about the screening. " Now Bergman no longer dedicates new masterpieces to people. He enjoys the passage of time in the loneliness of Faroe Island, just like the old man in Wild Strawberry. Perhaps only silence is his closest friend, and he still stubbornly continues to think.