![]() For me, that is.” He felt this was accurate going on to further state that: In production many of the alluded to flashbacks do occur giving bodies, if not voices to those characters.īergman speaks of how he feels ultimately the film was a failure due to the fact that “A French critic cleverly wrote that ‘with Autumn Sonata Bergman does Bergman.’ It is witty but unfortunate. ![]() In terms of major speaking roles he succeeded in this aim. Eventually there may be room for a third character.” “Ingrid Bergman and Liv Ullmann in the two roles, and no one else. The title of the film makes sense as per the dictionary definition of sonata:Ī composition for one or two instruments, typically in three or four movements in contrasted forms and keys.īergman similarly wanted to limit the number of characters in the drama: I wanted to have something up my sleeve in case The Serpent’s Egg flopped with a somersault. With regards to Autumn Sonata Bergman stated: It came about in manner not dissimilar to Robert Rodriguez’ theory about obfuscating what film is in fact a director’s second. Much as Stephen King describes the construction of The Langoliers, Bergman speaks of how easily the story seemed to flow from him: “ Autumn Sonata was conceived in one night, in a matter of hours, after a period of total writer’s block.” He states “Ingrid Bergman and Liv Ullmann were necessary for Autumn Sonata.” As the idea was born first that he wanted to work with Ingrid, then as this idea occurred to him it seemed it was the perfect vehicle. Bergman shares much of his for this film. It’s always fascinating to get into the creative process. Images: My Life in Film by Ingmar BergmanĪs I stated previously, Bergman’s book Images is perhaps a better source for his notions of his work as he had the benefit of hindsight and didn’t have as close an emotional attachment to the material, and whatever emotional scars production may have left faded over time. So with the new Blu, the supplements, and all the other sources I could cull from, it really did open up a world of new insights into the making of this wonderful, heart-wrenching film. This was thanks to a retrospective the Film Forum had a while back. However, this is a film I loved since I first saw it, and one of the rare Bergman films I saw in the theatre first. Granted my recent Blogathon contributions about Images by Ingmar Bergman, and Interviews: Liv Ullmann, combined with my recent acquisition of the Autumn Sonata Criterion edition made it a natural choice. When I saw this announced I knew there was only one selection I could really make. This is my, sadly late, contribution to the Ingrid Bergman Blogathon hosted by The Wonderful World of Cinema.
0 Comments
Leave a Reply. |
AuthorWrite something about yourself. No need to be fancy, just an overview. ArchivesCategories |