A book introducing world-class directors

also known as: Ing Marbergman

Occupation: Director and Screenwriter

Location: Sweden

Birthplace: Sweden

Birthday: July 14th, 1918

Magic Lights and Images: The Legendary Film Career of Bergman

French film director Francois Trufff (French film director, He writes movies just as a writer writes a book. But he used a camera instead of a pen. " 1

Eric Hou Mai, another new wave of movie master, said when talking about The Seventh Seal, one of Bergman's greatest films: "This is a kind of simplicity that depicts the characteristics of the era-here is the Middle Ages-in art. The spirit of this era was successfully grasped by Bergman, and it was not spoiled by pedantry, because of his unparalleled art. The image and form he presented to us were never meaningless, but always original. His art is so talented and novel that we forget it because of questioning the questions and constantly seeking answers. Few movies can set such a high goal, and even fewer movies can achieve its ambition so perfectly. " 2

Kieslowsky, one of the greatest Polish film directors, thought that the hall of film saints was built by Bergman, Ferini and tarkovsky. He said that the realm he dreamed of was beyond his reach, and only some works by Bergman, tarkovsky and Ferini had been achieved. And "it (referring to the tension of Bergman's film), along with other things, is where the magic on the screen was born: as an audience, you suddenly find yourself in a state of tension because you are in a world directly presented to you by the director. The world is so coherent, so complete and so concise that you feel the tension because you realize the tension between the characters. " 3

Fellini, one of the "holy trinity" of European films and known as the "magician of the seventh art", said, "I have only seen this film once, but it is enough to realize what a great artist Bergman is. ..... comparing me with him is a compliment. Bergman is a real filmmaker. He uses any means, even hallucinations. This is an esoteric illusionism, which can present a problematic and disturbing reality in a cheerful way. Bergman and I appreciate each other. " Another great colleague in Ferini's mind is Akira Kurosawa. He once invited Bergman and Kurosawa to Rome to shoot "Three Love Stories" (each shot one of them), but failed because of Kurosawa's health.

Bergman himself said, "Although the film has a complicated birth process, it is just my way of speaking to my peers." Same kind? Yes, he refers to us human beings.

People have exhausted the praise to describe the image of Bergman, but I think the most appropriate way is still: Look! They are right in front of your eyes; Take a look at his movies. If you think it's good, keep reading; If you don't feel anything, forget it-you are either hopeless or not our kind: maybe superman?

Perhaps the most appropriate definition of Bergman's film status is such an evaluation. For example, when American film critic Charles Thomas Samuels finally got Bergman's interview permission on September 1th, 1971 (Bergman rarely gave interviews, except in his later years), his first sentence was: "Mr. Bergman, I want to start with a fairly general question: if I have to explain your outstanding position in film directors with a simple reason, I will say that it is because you have created a special world-we have been familiar with these things from great people in other art categories, but people rarely do this in movies and will never reach your height. " (See "Interview with Bergman" in the appendix of this book)

This is the basic evaluation of Bergman: he makes film an art category that keeps pace with painting, sculpture, architecture, music, poetry and drama.

if two key terms are used to summarize the legendary life of ingmar bergman (1918-), a great film director in the 2th century, they must be "Magic Lantern" and "Images": they happen to be the titles of Bergman's autobiography and memoirs. 5

magic lamp, a projector; The final image of light on the screen. One is the origin, the source, which occurs, initiates and jumps out; One is the result, the ending, the goal and the end, which is generated, formed and gathered. Between this spectrum from the source to the destination, it is the imprint of Bergman's life: his movies, his images, his life, and all this comes from a set of toys in the childhood: a magic lamp.