Ingmar Bergman's Cinema

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Ingmar Bergman's Cinema

#1 Post by domino harvey » Thu Jul 12, 2018 3:01 pm

Ingmar Bergman's Cinema

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In honor of Ingmar Bergman's one hundredth birthday, the Criterion Collection is proud to present the most comprehensive collection of his films ever released on home video. One of the most revelatory voices to emerge from the postwar explosion of international art-house cinema, Bergman was a master storyteller who startled the world with his stark intensity and naked pursuit of the most profound metaphysical and spiritual questions. The struggles of faith and morality, the nature of dreams, and the agonies and ecstasies of human relationships—Bergman explored these subjects in films ranging from comedies whose lightness and complexity belie their brooding hearts to groundbreaking formal experiments and excruciatingly intimate explorations of family life.

Arranged as a film festival with opening and closing nights bookending double features and centerpieces, this selection spans six decades and thirty-nine films—including such celebrated classics as The Seventh Seal, Persona, and Fanny and Alexander alongside previously unavailable works like Dreams, The Rite, and Brink of Life. Accompanied by a 248-page book with essays on each program, as well as by more than thirty hours of supplemental features, Ingmar Bergman's Cinema traces themes and images across Bergman's career, blazing trails through the master's unequaled body of work for longtime fans and newcomers alike.

Smiles of a Summer Night

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After fifteen films that received mostly local acclaim, the comedy Smiles of a Summer Night at last ushered in an international audience for Ingmar Bergman. In turn-of-the-century Sweden, four men and four women attempt to navigate the laws of attraction. During a weekend in the country, the women collude to force the men's hands in matters of the heart, exposing their pretensions and insecurities along the way. Chock-full of flirtatious propositions and sharp witticisms delivered by such Swedish screen legends as Gunnar Björnstrand and Harriet Andersson, Smiles of a Summer Night is one of cinema's great erotic comedies.

SPECIAL FEATURES

• 2K digital restoration, with uncompressed monaural soundtrack
• Introduction by Ingmar Bergman, recorded in 2003
• Conversation between film scholar Peter Cowie and filmmaker and author Jörn Donner, recorded in 2003 (17 min)
• Trailer
• An essay by theater and film critic John Simon

Crisis / A Ship to India

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With his very first film as a director, made under the mentorship of the silent-film maestro Victor Sjöström, Ingmar Bergman began exploring a couple of the essential themes of his early period: youth pitted against crass society and the tensions between men and women. The eighteen-year-old Nelly (Inga Landgré), who lives with her foster mother in a quiet provincial town, is shaken by the sudden arrival of her birth mother (Marianne Löfgren), who eventually takes her to Stockholm—where Nelly receives a crash course in corruption and wrenching heartbreak. Crisis proved that Bergman had an incipient gift for developing characters and evoking atmosphere on-screen.

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The hunchbacked sailor Johannes (Birger Malmsten) longs to escape his home on a salvage ship helmed by his cruel, drunken father (Holger Löwenadler)—and so does the captain himself, who is slowly going blind and planning to leave his wife and son for a music-hall performer named Sally (Gertrud Fridh). The family begins to unravel when the captain invites Sally to live on the ship, where she and Johannes form a tender connection. Told in flashback and inspired in part by French poetic realism, A Ship to India marks a major evolution in Ingmar Bergman's early filmmaking, demonstrating his gifts as a conjurer of beguiling images and a dramatist of lacerating emotions.

SPECIAL FEATURES

• New 2K digital restorations of both films, with uncompressed monaural soundtracks
• An essay on the films by Christine Smallwood

Wild Strawberries

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Traveling to accept an honorary degree, Professor Isak Borg—masterfully played by the veteran filmmaker and actor Victor Sjöström—is forced to face his past, come to terms with his faults, and make peace with the inevitability of his approaching death. Through flashbacks and fantasies, dreams and nightmares, Wild Strawberries dramatizes one man's remarkable voyage of self-discovery. This richly humane masterpiece, full of iconic imagery, is one of Ingmar Bergman's most widely acclaimed and influential films.

SPECIAL FEATURES

• 2K digital restoration, with uncompressed monaural soundtrack
• Audio commentary by film scholar Peter Cowie, recorded in 2001
• Introduction by Ingmar Bergman, recorded in 2003
Ingmar Bergman on Life and Work (1998), a documentary by Jörn Donner (90 min)
• Silent behind-the-scenes footage narrated by curator Jon Wengström (17 min)
• An essay by film writer Mark Le Fanu

To Joy / Summer Interlude

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Taking its title from Friedrich Schiller's "Ode to Joy," adapted by Beethoven for his Ninth Symphony, this tragic romance opens with a violinist, Stig (Stig Olin), learning of the sudden death of his wife, Marta (Maj-Britt Nilsson). During a prolonged flashback, Stig remembers the delights and tribulations of their relationship, back to their early days in the orchestra conducted by the eminent Sönderby (Victor Sjöström), a time when Stig was riddled with self-doubt. An undeniably personal work for Ingmar Bergman, To Joy is a compelling tale of a young man's struggle with the demons standing in the way of his happiness.

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Touching on many of the themes that would define the rest of his career—isolation, performance, the inescapability of the past— Ingmar Bergman's tenth film was a gentle drift toward true mastery. Maj-Britt Nilsson beguiles as an accomplished ballet dancer haunted by her tragic youthful affair with a shy, handsome student (Birger Malmsten). Her memories of the sunny, rocky shores of Stockholm's outer archipelago mingle with scenes from her gloomy present at the theater where she performs. A film that the director considered a creative turning point, Summer Interlude is a reverie about life and death that unites Bergman's love of theater and cinema.

SPECIAL FEATURES

• New 2K digital restorations of both films, with uncompressed monaural soundtracks
• An essay by film scholar Peter Cowie

Summer with Monika

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Inspired by the earthy eroticism of Harriet Andersson, in the first of many roles for him, Ingmar Bergman turned in this work of stunning maturity, a sensual and ravaging tale of young love. A girl (Andersson) and boy (Lars Ekborg) from working-class families in Stockholm run away from home to spend a secluded, romantic summer at the beach. Inevitably, it is not long before the pair are forced to return to reality. Although Summer with Monika was initially quietly received, its reputation gathered steam throughout the 1950s, and it became an international sensation.

SPECIAL FEATURES

• 2K digital restoration, with uncompressed monaural soundtrack
• Introduction by Ingmar Bergman, recorded in 2003
• Interview with actor Harriet Andersson, conducted by film scholar Peter Cowie in 2012 (25 min)
Images from the Playground (2009), a documentary by Stig Björkman, featuring audio interviews with Bergman, actors Bibi Andersson and Harriet Andersson, and behind-the-scenes footage from several Bergman films (29 min)
• Interview with film scholar Eric Schaefer about promoter Kroger Babb and his distribution of Monika as an exploitation film, recorded in 2012 (13 min)
• Trailer
• An essay by film scholar Laura Hubner and a publicity piece from 1953 in which Bergman interviews himself

Dreams / A Lesson in Love

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Grave and witty by turns, Dreams develops into a probing study of the psychology of desire. Susanne (Eva Dahlbeck), head of a modeling agency, takes her protégée Doris (Harriet Andersson) to a fashion show in Göteborg, where Susanne makes contact with a former lover, and Doris finds herself pursued by a married dignitary (Gunnar Björnstrand). With its parallel narratives and subtle compositions, this film marked a transition between Ingmar Bergman's early explorations of affairs of the heart and the more somber and virtuosic masterpieces to come later in the fifties.

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One of Ingmar Bergman's most satisfying marital comedies, A Lesson in Love stars the droll and sparkling duo of Eva Dahlbeck and Gunnar Björnstrand as a couple deep into their married years and seeking fresh pastures. Björnstrand's gynecologist falls for one of his patients (Yvonne Lombard), while his wife flounces off to Copenhagen to renew her fling with a sculptor (Åke Grönberg). Deftly interspersing scenes of farce with interludes of tranquil reflection, A Lesson in Love serves as an aperitif before the full-blown comic brilliance of Smiles of a Summer Night the following year.

SPECIAL FEATURES

• New 2K digital restorations of both films, with uncompressed monaural soundtracks
• Introduction to A Lesson in Love by Ingmar Bergman, recorded in 2003
• An essay on the films by Imogen Sara Smith

Scenes from a Marriage / Saraband

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Scenes from a Marriage chronicles the many years of love and turmoil that bind Marianne (Liv Ullmann) and Johan (Erland Josephson), tracking their relationship as it progresses through a number of successive stages: matrimony, infidelity, divorce, and subsequent partnerships. Originally conceived as a five-hour, six-part television miniseries, the film is also presented in its three-hour theatrical cut. Shot on 16 mm in intense, intimate close-ups by cinematographer Sven Nykvist and featuring flawless performances by Ullmann and Josephson, Bergman's emotional X-ray reveals the intense joys and pains of a complex bond.

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With his final film, Ingmar Bergman returned to two of his most richly drawn characters: Johan (Erland Josephson) and Marianne (Liv Ullman), the couple from Scenes from a Marriage. Dropping in on Johan's secluded country house after decades of separation, Marianne reconnects with the man she once loved. Nearby, the widowed musician Henrik (Börje Ahlstedt), Johan's son from an earlier marriage, clutches desperately to his only child, the teenage Karin (Julia Dufvenius). A chamber piece performed by four wounded characters and suffused with disappointment and forgiveness, Saraband is a generous farewell to cinema from one of its greatest artists.

SPECIAL FEATURES

• High-definition digital transfers of both the television version and the U.S. theatrical version of Scenes and of Saraband, with uncompressed monaural and stereo soundtracks
• Interview with Ingmar Bergman, recorded in 1986 for Swedish television (15 min)
• Interview program featuring actors Erland Josephson and Liv Ullmann, recorded in 2003 (25 min)
• Interview with film scholar Peter Cowie on the two versions of Scenes, recorded in 2003 (15 min)
• An essay on the films by author Phillip Lopate

From the Life of the Marionettes / Hour of the Wolf

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Made during his self-imposed exile in Germany, Ingmar Bergman's From the Life of the Marionettes offers a lacerating portrait of a destructive marriage and a complex psychological analysis of a murder. Businessman Peter nurses fantasies of killing his wife, Katarina, until a prostitute becomes his surrogate prey. In the aftermath of the crime, Peter and Katarina's psychiatrist and others attempt to explain its roots. Jumping back and forth in time, this compelling film moves seamlessly between seduction and repulsion, and the German cast is superb.

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The strangest and most disturbing of the films Ingmar Bergman shot on the island of Fårö, Hour of the Wolf stars Max von Sydow as a haunted painter living in voluntary exile with his wife (Liv Ullmann). When the couple are invited to a nearby castle for dinner, things start to go wrong with a vengeance, as a coven of sinister aristocrats hastens the artist's psychological deterioration. This gripping film is charged with a nightmarish power rare in the Bergman canon, and contains dreamlike effects that brilliantly underscore the tale's horrific elements.

SPECIAL FEATURES

• New 2K digital restorations of both films, with uncompressed monaural soundtracks
• An essay on the films by Sarinah Masukor

Shame / The Passion of Anna

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Directed by Ingmar Bergman, Shame (Skammen) is at once an examination of the violent legacy of World War II and a scathing response to the escalation of the conflict in Vietnam. Max von Sydow and Liv Ullmann star as musicians living in quiet retreat on a remote island farm, until the civil war that drove them from the city catches up with them there. Amid the chaos of the military struggle, vividly evoked by pyrotechnics and by cinematographer Sven Nykvist's handheld camera work, the two are faced with impossible moral choices that tear at the fabric of their relationship. This film, which contains some of the most devastating scenes in Bergman's oeuvre, shows the impact of war on individual lives.

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This drama shot on Ingmar Bergman's beloved Fårö island describes a mood of fear, isolation, and the longing for connection. Not long after the dissolution of his marriage and a fleeting liaison with a neighbor (Bibi Andersson), the reclusive Andreas (Max von Sydow) begins an ill-fated affair with the mysterious, beguiling Anna (Liv Ullmann), who has recently lost her own husband and son. Bergman's first color film since All These Women, The Passion of Anna is a sequel of sorts to Shame. It incorporates documentary-style interviews with the actors, blurring the boundaries between fiction and nonfiction, lies and truth, dreams and reality, identity and anonymity.

SPECIAL FEATURES

• New 2K digital restorations of both films, with uncompressed monaural soundtracks
• Interview with Ingmar Bergman and a brief Shame press conference excerpt, recorded in 1968 for Swedish television (5 min)
• Interview with Bergman about Shame, recorded in 1968 for Swedish television (15 min)
• Interview with actor Liv Ullmann, recorded in 2018 (21 min)
An Introduction to Ingmar Bergman (1968), a documentary hosted by Lewis Freedman, shot on location by Gunnar Fischer during the production of Shame (72 min)
• An essay on the films by critic Michael Sragow

Fårö Document / Fårö Document 1979

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Ingmar Bergman had discovered the bleak, windswept Fårö while scouting locations for Through a Glass Darkly in 1960. Nearly a decade later—and after shooting a number of arresting dramas there and making the island his primary residence—the director set out to pay tribute to its inhabitants. In Fårö Document, shot on handheld 16 mm by Sven Nykvist, Bergman interviews a variety of locals, in the process laying bare the generational divide between young residents eager to leave the island and older people more deeply rooted in bucolic tradition. The film revealed Bergman to be a sensitive and masterly documentarian.

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Midway through his time in Germany, Bergman returned to Fårö for his second documentary exploration of the remote Swedish island he loved and the socio­economic realities experienced by those who lived there. Longer, more optimistic, and less ascetic than its predecessor, this film charts a calendar year in the life of the island's 673 inhabitants, many of whom he observes working tirelessly shearing sheep, thatching roofs, and slaughtering livestock, as well as going about various communal rituals. Distilled from twenty-eight hours of material, Fårö Document 1979 is a lyrical depiction of life's cyclical nature.

SPECIAL FEATURES

• New 2K digital restorations of both films, with uncompressed monaural soundtracks
Daniel (1967), a short documentary by Ingmar Bergman about his son, his contribution to the Swedish omnibus film Stimulantia (11 min)
Karin's Face (1984), a short film by Bergman about his mother (14 min)
• An essay on the films by Michael Koresky

Through a Glass Darkly

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While vacationing on a remote island retreat, a family finds its fragile ties tested when daughter Karin (an astonishing Harriet Andersson) discovers her father (Gunnar Björnstrand) has been using her schizophrenia for his own literary ends. As she drifts in and out of lucidity, Karin's father, her husband (Max von Sydow), and her younger brother (Lars Passgård) are unable to prevent her descent into the abyss of mental illness. Winner of the Academy Award for best foreign-language film, Through a Glass Darkly, the first work in Ingmar Bergman's trilogy on faith and the loss of it, presents an unflinching vision of a family's near disintegration and a tortured psyche further taunted by the intangibility of God's presence.

SPECIAL FEATURES

• New 2K digital restoration, with uncompressed monaural soundtrack
• Introduction by Ingmar Bergman, recorded in 2003
• Interview with film scholar Peter Cowie, recorded in 2003 (11 min)
• Excerpted interview with actor Harriet Andersson, recorded in 2012 (9 min)
• U.S. trailer
• Alternate English-dubbed soundtrack

Winter Light

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"God, why hast thou forsaken me?" With Winter Light, Ingmar Bergman explores the search for redemption in a meaningless existence. Small-town pastor Tomas Ericsson (Gunnar Björnstrand) performs his duties mechanically before a dwindling congregation, including his stubbornly devoted lover, Märta (Ingrid Thulin). When he is asked to assuage a troubled parishioner's (Max von Sydow) debilitating fear of nuclear annihilation, Tomas is terrified to find that he can provide nothing but his own doubt. The beautifully photographed Winter Light is an unsettling look at the human craving for personal validation in a world seemingly abandoned by God.

SPECIAL FEATURES

• New 2K digital restoration, with uncompressed monaural soundtrack
• Introduction by Ingmar Bergman, recorded in 2003
• Interview with film scholar Peter Cowie, recorded in 2003 (10 min)
Ingmar Bergman Makes a Movie (1963), a five-part documentary by Vilgot Sjöman made for Swedish television during the production of Winter Light (146 min)
• U.S. trailer
• Alternate English-dubbed soundtrack

The Silence

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Two sisters—the sickly, intellectual Ester (Ingrid Thulin) and the sensual, pragmatic Anna (Gunnel Lindblom)—travel by train with Anna's young son, Johan (Jörgen Lindström), to a foreign country that appears to be on the brink of war. Attempting to cope with their alien surroundings, each sister is left to her own vices while they vie for Johan's affection, and in so doing sabotage what little remains of their relationship. Regarded as one of the most sexually provocative films of its day, Ingmar Bergman's The Silence offers a disturbing vision of emotional isolation in a suffocating spiritual void.

SPECIAL FEATURES

• New 2K digital restoration, with uncompressed monaural soundtrack
• Introduction by Ingmar Bergman, recorded in 2003
• Interview with film scholar Peter Cowie, recorded in 2003 (11 min)
• Gallery of posters for Through a Glass Darkly, Winter Light, and The Silence
• U.S. trailer
• Alternate English-dubbed soundtrack
• An essay on Through a Glass Darkly, Winter Light, and The Silence by film scholar Catherine Wheatley and an excerpt from Bergman's 1987 autobiography, The Magic Lantern

The Virgin Spring

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Winner of the Academy Award for best foreign-language film, Ingmar Bergman's The Virgin Spring is a harrowing tale of faith, revenge, and savagery in medieval Sweden. With austere simplicity, the director tells the story of the rape and murder of the virgin Karin, and her father Töre's ruthless pursuit of vengeance against the three killers. Starring Max von Sydow and photographed by the brilliant Sven Nykvist, the film is both beautiful and cruel in its depiction of a world teetering between paganism and Christianity.

SPECIAL FEATURES

• New 2K digital restoration, with uncompressed monaural soundtrack
• Audio commentary by film scholar Birgitta Steene, recorded in 2005
• Tribute by filmmaker Ang Lee, recorded in 2005 (7 min)
• Interview program featuring actors Gunnel Lindblom and Birgitta Pettersson, recorded in 2005 (20 min)
• Audio interview with Ingmar Bergman, recorded at the American Film Institute in 1975 as part of the Harold Lloyd Master Seminars (40 min)
• Alternate English-dubbed soundtrack
• An essay by film scholar Peter Cowie

The Seventh Seal

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Returning exhausted from the Crusades to find medieval Sweden gripped by the Plague, a knight (Max von Sydow) suddenly comes face-to-face with the hooded figure of Death, and challenges him to a game of chess. As the fateful game progresses, and the knight and his squire encounter a gallery of outcasts from a society in despair, Bergman mounts a profound inquiry into the nature of faith and the torment of mortality. One of the most influential films of its time, The Seventh Seal is a stunning allegory of man's search for meaning and a work of stark visual poetry.

SPECIAL FEATURES

• New 4K digital restoration, with uncompressed monaural soundtrack
• Audio commentary by film scholar Peter Cowie, recorded in 1987, with a video afterword (11 min) recorded in 2008
• Introduction by Ingmar Bergman, recorded in 2003
Bergman Island (2006), a documentary directed by Marie Nyreröd (83 min)
• Audio interview with actor Max von Sydow, conducted by Cowie in 1988 (20 min)
• Tribute to Bergman by filmmaker Woody Allen, recorded in 1998 (7 min)
Bergman 101, a video essay created by Cowie in 2009 (35 min)
• Trailer
• Alternate English-dubbed soundtrack
• An essay on the film by critic Gary Giddins

The Devil's Eye / All These Women

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The sophisticated fantasy The Devil's Eye—the last Ingmar Bergman film to be shot by the great Gunnar Fischer—is an engaging satire of petit bourgeois morals. The devil (Stig Järrel) suffers from an inflamed eye, which he informs Don Juan (Jarl Kulle) can be cured only if a young woman's chastity is breached. So the legendary lover ascends from hell and sets about seducing an innocent pastor's daughter, Britt-Marie (Bibi Andersson). Bergman's dialogue bubbles with an irony reminiscent of his beloved Molière, and the music of Domenico Scarlatti (performed by Bergman's fourth wife, Käbi Laretei) underscores the joy that infuses much of the film.

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Conceived as an amusing diversion in the wake of Ingmar Bergman's despairing trilogy, this comedy is the director's first film in color, and it is an opulent visual feast. Working from a bawdy screenplay he cowrote with actor Erland Josephson, about a supercilious critic drawn into the dizzying orbit of a famous cellist, Bergman brings together buoyant comic turns by a number of his frequent collaborators, including Jarl Kulle, Eva Dahlbeck, Harriet Andersson, and Bibi Andersson. All These Women, in which Bergman pokes fun at the pretensions of drawing-room art, possesses a distinctly playful atmosphere and carefree cadences.

SPECIAL FEATURES

• New 2K digital restorations of both films, with uncompressed monaural soundtracks
• An essay on the films by David Cairns and Fiona Watson

Sawdust and Tinsel / The Rite

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Ingmar Bergman presents the battle of the sexes as a ramshackle, grotesque carnival of humiliation in Sawdust and Tinsel, one of the master's most vivid early works and his first of many collaborations with the great cinematographer Sven Nykvist. The story of the charged relationship between a turn-of-the-twentieth-century circus owner (Åke Grönberg) and his younger mistress (Harriet Andersson), a horseback rider in the traveling show, the film features dreamlike detours and twisted psychosexual power plays, making for a piercingly brilliant depiction of physical and spiritual degradation.

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Ingmar Bergman conceived this experimental work as a response to his controversial tenure at the Royal Dramatic Theatre. Focusing on four characters—a trio of actors charged with obscenity (Ingrid Thulin, Gunnar Björnstrand, Anders Ek), and the judge assigned to try them (Erik Hell)—The Rite alternates between criminal interrogations and interpersonal confrontations shown in flashback, leading to a final "performance" that makes for one of the most bizarre moments in Bergman's filmography. Staged on bare sets and shot almost entirely in close-up, The Rite condenses a decade's worth of cinematic exploration into seventy-five tense, unsettling minutes.

SPECIAL FEATURES

• New 2K digital restorations of both films, with uncompressed monaural soundtracks
• Audio commentary on Sawdust and Tinsel by film scholar Peter Cowie, recorded in 2007
• Introduction to Sawdust and Tinsel by Ingmar Bergman, recorded in 2003
• An essay on the films by Wesley Brown

The Magician

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With The Magician, an engaging, brilliantly conceived tale of chicanery that doubles as a symbolic portrait of the artist as a deceiver, Ingmar Bergman proved himself to be one of cinema's premier illusionists. Max von Sydow stars as Dr. Vogler, a nineteenth-century traveling mesmerist and peddler of potions whose magic is put to the test in Stockholm by the cruel, eminently rational royal medical adviser Dr. Vergérus (Gunnar Björnstrand). The result is a diabolically clever battle of wits that's both frightening and funny, shot by Gunnar Fischer in rich, gorgeously gothic black and white.

SPECIAL FEATURES

• High-definition digital transfer, with uncompressed monaural soundtrack
• Interview with Ingmar Bergman, recorded in 1967 for Swedish television (4 min)
• Audio interview with Bergman, conducted by filmmakers Olivier Assayas and Stig Björkman in English in 1990 (21 min)
• Video essay on the themes of the film, created by film scholar Peter Cowie in 2010 (15 min)
• An essay on the film by critic Geoff Andrew and an excerpt from Bergman's autobiography Images: My Life in Film

The Magic Flute / After the Rehearsal

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This scintillating screen version of Wolfgang Amadeus Mozart's beloved opera showcases Ingmar Bergman's deep knowledge of music and gift for expressing it cinematically. Casting some of Europe's finest soloists—Josef Köstlinger, Ulrik Cold, Håkan Hagegård, and Birgit Nordin among them—the director lovingly recreated the baroque theater of Sweden's Drottningholm Palace to stage the story of the prince Tamino and his zestful sidekick Papageno, who are sent on a mission to save a beautiful princess from the clutches of evil. A celebration of love and forgiveness that exhibits a profound appreciation for the artifice and spectacle of the theater, The Magic Flute is among the most exquisite opera films ever made.

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With this spare chamber piece, set in an empty theater, Ingmar Bergman returned to his perennial theme of the permeability of life and art. Lingering after a rehearsal for August Strindberg's A Dream Play (a touchstone for the filmmaker throughout his career), eminent director Henrik (Erland Josephson) enters into a frank and flirtatious conversation with his up-and-coming star, Anna (Lena Olin), leading him to recall his affair with Anna's late mother, the self-destructive actress Rakel (Ingrid Thulin). The sharply written and impeccably performed After the Rehearsal, originally made for television, pares away all artifice to examine both the allure and the cost of a life in the theater.

SPECIAL FEATURES

• New 2K digital restorations of both films, with uncompressed stereo and monaural soundtracks
• Interview with Ingmar Bergman on The Magic Flute, recorded in 1974 for Swedish television (29 min)
• Interview with film scholar Peter Cowie on The Magic Flute, recorded in 2018 (18 min)
Tystnad! Tagning! Trollflöjten! (1975), a documentary produced for Swedish television about the making of The Magic Flute (65 min)
• An essay on the films by author Alexander Chee

The Touch / The Serpent's Egg

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With his first English-language film, a critical and box-office disaster, Ingmar Bergman delivered a compelling portrait of conflicting desires. In The Touch, a chance encounter between seemingly contented housewife Karin (Bibi Andersson) and David (Elliott Gould), an intense American archaeologist scarred by his family's past, leads to the initiation of a torrid and tempestuous affair, one that eventually threatens the stability of Karin's marriage to a respected local surgeon (Max von Sydow). Upon its release, the filmmaker declared this emotionally complex and sensitively performed film to be his first real love story.

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One rainy night in Weimar Berlin, Jewish American circus performer Abel Rosenberg (David Carradine) discovers that his brother Max, his trapeze-act partner, has killed himself. What follows is one of Bergman's darkest and most fearful visions, as the drowned-in-drink Abel and Max's ex-wife, cabaret singer Manuela (Liv Ullmann), feel increasingly unwelcome in a menacing and destitute city, eyed by the police as well as a scientist with diabolical intentions. The director's sole big-budget Hollywood production, for which he created a surreal and atmospheric Berlin on a Munich soundstage, The Serpent's Egg conjures a Kafkaesque nightmare about the decaying society that gave rise to the horrors of Nazism.

SPECIAL FEATURES

• New 2K digital restorations of both films, with uncompressed monaural soundtracks
Ingmar Bergman (1971), a documentary by Stig Björkman on the making of The Touch (55 min)
Away from Home, an interview program about The Serpent's Egg, featuring actors David Carradine and Liv Ullmann and film critic Marc Gervais, recorded in 2004 (16 min)
• An essay on the films by Karan Mahajan

Persona

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By the midsixties, Ingmar Bergman had already conjured many of the cinema's most unforgettable images. But with the radical Persona, he attained new levels of visual poetry. In the first of a series of legendary performances for Bergman, Liv Ullmann plays a stage actor who has inexplicably gone mute; an equally mesmerizing Bibi Andersson is the garrulous young nurse caring for her in a remote island cottage. While isolated together there, the women undergo a mysterious spiritual and emotional transference. Performed with astonishing nuance and shot in stark contrast and soft light by Sven Nykvist, the influential Persona is a penetrating, dreamlike work of profound psychological depth.

SPECIAL FEATURES

• 2K digital restoration, with uncompressed monaural soundtrack
• Video essay on Persona's prologue, created by film scholar Peter Cowie in 2013 (20 min)
• Conversation between Ingmar Bergman and actors Liv Ullmann and Bibi Andersson, recorded in 1966 (20 min)
• Interview with Bergman, recorded in 1970 (8 min)
• Interview with Ullmann, recorded in 2013 (16 min)
• Interview with filmmaker Paul Schrader, recorded in 2013 (11 min)
• Silent behind-the-scenes footage narrated by film scholar Birgitta Steene (18 min)
Liv & Ingmar (2012) a documentary by Dheeraj Akolkar (84 min)
• U.S. trailer
• An essay on the film by Thomas Elsaesser and an excerpt from the 1970 book Bergman on Bergman

Thirst / Port of Call

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Intricately structured and technically accomplished, Thirst is an often dazzling examination of people burdened by the past and united in isolation. The principal couple, Bertil (Birger Malmsten) and Ruth (Eva Henning), travel home by train to Sweden from Switzerland, at each other's throats the whole way. Meanwhile, in Stockholm, Bertil's former lover, Viola (Birgit Tengroth, who also wrote the stories on which the film is based), tries to evade the predatory advances of her psychiatrist, and then of a ballet dancer who was once a friend of Ruth's. With this dark and multilayered drama, sustained by biting dialogue, Ingmar Bergman began to reveal his profound understanding of the female psyche.

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Strongly influenced by the neorealist films of Roberto Rossellini, Port of Call is Ingmar Bergman's most naturalistic work. Shot on location in the port of Göteborg by Gunnar Fischer (who would become one of the director's key collaborators), the film focuses on the tentative relationship between Gösta (Bengt Eklund), a sincere, easygoing seaman, and Berit (Nine‑Christine Jönsson), a suicidal young woman from a broken home. As Berit reveals more about her troubled past, and the couple confront many harsh realities in the present, a meaningful bond begins to form between them. With this confident and disciplined feature, his fifth, Bergman tackled moral and social issues head-on.

SPECIAL FEATURES

• New 2K digital restorations of both films, with uncompressed monaural soundtracks
• An essay on the films by Fredrik Gustafsson

Cries and Whispers

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This existential wail of a drama concerns two sisters, Karin (Ingrid Thulin) and Maria (Liv Ullmann), keeping vigil for a third, Agnes (Harriet Andersson), who is dying of cancer and can find solace only in the arms of a beatific servant (Kari Sylwan). An intensely felt film that is one of Bergman's most striking formal experiments, Cries and Whispers (which won an Oscar for the extraordinary color photography by Sven Nykvist) is a powerful depiction of human behavior in the face of death, positioned on the borders between reality and nightmare, tranquility and terror.

SPECIAL FEATURES

• New 2K digital restoration, with uncompressed monaural soundtrack
• Introduction by Ingmar Bergman, recorded in 2001
• Interview with actor Harriet Andersson, conducted by film scholar Peter Cowie in 2012 (20 min)
• Behind-the-scenes footage narrated by Cowie (34 min)
Ingmar Bergman: Reflections on Life, Death, and Love (1999), a documentary featuring Bergman, actor Erland Josephson, and journalist Malou von Sivers (53 min)
On Solace, a video essay created by filmmaker :: kogonada in 2014 (13 min)
• U.S. trailer
• Alternate English-dubbed soundtrack
• An essay by film scholar Emma Wilson

Waiting Women / Brink of Life

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While at a summerhouse, awaiting their husbands' return, a group of sisters-in-law recount stories from their respective marriages. Rakel (Anita Björk) tells of receiving a visit from a former lover (Jarl Kulle); Marta (Maj-Britt Nilsson) of agreeing to marry a painter (Birger Malmsten) only after having his child; and Karin (Eva Dahlbeck) of being stuck with her husband (Gunnar Björnstrand) in an elevator, where they talk intimately for the first time in years. Making dexterous use of flashbacks, the engaging Waiting Women is a veritable seedbed of Bergman themes, ranging from aspiring young love to the fear of loneliness, with the finale a masterpiece of chamber comedy.

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At the height of his international acclaim, Ingmar Bergman followed two meditations on death, The Seventh Seal and Wild Strawberries, with an examination of the mystery and pain of birth. This intimate chamber drama, set in a maternity ward, follows the emotional crises of three women as they grapple with motherhood. Another major success for the director that was also recognized for its exquisite performances by Ingrid Thulin, Eva Dahlbeck, and Bibi Andersson, Brink of Life is one of Bergman's most brilliantly nuanced explorations of the inner lives of women.

SPECIAL FEATURES

• New 2K digital restorations of both films, with uncompressed monaural soundtracks
• An essay on the films by Fernanda Solórzano

Autumn Sonata

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Autumn Sonata was the only collaboration between cinema's two great Bergmans: Ingmar and Ingrid, the monumental star of Casablanca. The grande dame, playing an icy concert pianist, is matched beat for beat in ferocity by the filmmaker's recurring lead Liv Ullmann, as her eldest daughter. Over the course of a day and a long, painful night that the two spend together after an extended separation, they finally confront the bitter discord of their relationship. This cathartic pas de deux, evocatively shot in burnished harvest colors, ranks among the director's major dramatic works.

SPECIAL FEATURES

• New 2K digital restoration, with uncompressed monaural soundtrack
• Audio commentary by film scholar Peter Cowie, recorded in 1995
• Introduction by Ingmar Bergman, recorded in 2003
The Making of "Autumn Sonata" (1978), a documentary by Arne Carlsson (207 min)
• Interview with actor Liv Ullmann, recorded in 2013 (19 min)
• Conversation between actor Ingrid Bergman and critic John Russell Taylor, recorded at the National Film Theatre in London in 1981 (39 min)
• Trailer
• Alternate English-dubbed soundtrack
• An essay on the film by critic Farran Smith Nehme

Fanny and Alexander: Theatrical and Television Versions

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Through the eyes of ten-year-old Alexander, we witness the delights and conflicts of the Ekdahl family, a sprawling bourgeois clan in turn-of-the-twentieth-century Sweden. Ingmar Bergman intended Fanny and Alexander as his swan song, and it is the director's warmest and most autobiographical film, an Academy Award–winning triumph that combines his trademark melancholy and emotional intensity with immense joy and sensuality. Bergman described Fanny and Alexander as "the sum total of my life as a filmmaker."

SPECIAL FEATURES

• New 2K digital restorations of both the theatrical and television versions of the film, with uncompressed monaural soundtracks
• Audio commentary on the theatrical version by film scholar Peter Cowie, recorded in 2004
• Trailer for the theatrical version
• Alternate English-dubbed soundtrack for the theatrical version
The Making of "Fanny and Alexander" (1983), a documentary by Ingmar Bergman (110 min)
A Bergman Tapestry (2004), a documentary featuring several members of Fanny and Alexander's cast and crew (39 min)
Ingmar Bergman Bids Farewell to Film, a conversation between Bergman and film critic Nils Petter Sundgren, recorded in 1984 (59 min)
• Gallery of behind-the-scenes photos and costume sketches
• Silent footage of the set models designed by Anna Asp, recorded in 2004 (7 min)
• An essay on the film by Molly Haskell

ADDITIONAL SUPPLEMENTS

Laterna Magica, a video essay made for the Deutsche Kinemathek in 2011 (15 min)
The South Bank Show: "Ingmar Bergman at 60," hosted by Melvyn Bragg and produced for British television in 1978 (57 min)
• Illustrated audio interview with cinematographer Sven Nykvist, recorded in 1981 at the American Film Institute (15 min)
...But Film Is My Mistress (2010), a documentary by Stig Björkman (69 min)
Women and Bergman (2007), a roundtable conversation featuring actors Bibi Andersson, Pernilla August, Elin Klinga, and Gunnel Lindblom (27 min)
17 Short Stories, a series of brief, topical interviews with Bergman, edited together by filmmaker Marie Nyreröd in 2017 (73 min)

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domino harvey
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Re: Ingmar Bergman Cinema

#2 Post by domino harvey » Thu Jul 12, 2018 3:03 pm

They're retaining some of the special features too. I am going to be able to get rid of almost all of my Bergman DVDs now, wow!

Also, $300 MSRP is incredibly reasonable

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FrauBlucher
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Re: Ingmar Bergman Cinema

#3 Post by FrauBlucher » Thu Jul 12, 2018 3:04 pm

Sale month!!!! Can’t get any better than this.

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Drucker
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Re: Ingmar Bergman's Cinema

#4 Post by Drucker » Thu Jul 12, 2018 3:05 pm

I love that they are only releasing this on blu-ray. Looks superb.

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domino harvey
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Re: Ingmar Bergman's Cinema

#5 Post by domino harvey » Thu Jul 12, 2018 3:09 pm

I think the only Tartan releases not included here are Music in the Darkness and Eva, the later of which I guess didn't make it since he only wrote it

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domino harvey
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Re: Ingmar Bergman's Cinema

#6 Post by domino harvey » Thu Jul 12, 2018 3:12 pm

Also, if Criterion is able to include all of their previous special features, this set will easily pay for itself by allowing us to resell our existing Criterion titles

This is the most excited I've ever been by a Criterion release. Finally, everyone will have access to all these great minor and major works in one easy step

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Boosmahn
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Re: Ingmar Bergman's Cinema

#7 Post by Boosmahn » Thu Jul 12, 2018 3:13 pm

Great news for fans of his. I loved Fanny and Alexander but disliked Persona (The Seventh Seal is sitting on my shelf and is something I'll definitely watch soon in light of this announcement). I'm wary of this box-set due to that, though. Maybe I'll check out Autumn Sonata, Cries and Whispers, or The Virgin Spring to see if this set is worth it for me.

I agree, Domino, $300 is a very reasonable price for such a large set. But one question remains: where's the wacky C?!
Last edited by Boosmahn on Thu Jul 12, 2018 3:15 pm, edited 1 time in total.

Andrew_VB
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Re: Ingmar Bergman's Cinema

#8 Post by Andrew_VB » Thu Jul 12, 2018 3:14 pm

been waiting for this! so many titles and all on blu-ray, seemingly with their extras as well. mouth watering set!

KJones77
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Re: Ingmar Bergman's Cinema

#9 Post by KJones77 » Thu Jul 12, 2018 3:15 pm

This is absolutely unreal.

Release of the year. Easy.

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domino harvey
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Re: Ingmar Bergman's Cinema

#10 Post by domino harvey » Thu Jul 12, 2018 3:17 pm

domino harvey wrote:
Thu Jul 12, 2018 3:09 pm
I think the only Tartan releases not included here are Music in the Darkness and Eva, the later of which I guess didn't make it since he only wrote it
Just checked my Bergman shelf, it also misses Prison-- def a key work, wonder why it was left out?

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domino harvey
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Re: Ingmar Bergman's Cinema

#11 Post by domino harvey » Thu Jul 12, 2018 3:19 pm

Boosmahn wrote:
Thu Jul 12, 2018 3:13 pm
Great news for fans of his. I loved Fanny and Alexander but disliked Persona (The Seventh Seal is sitting on my shelf and is something I'll definitely watch soon in light of this announcement). I'm wary of this box-set due to that, though. Maybe I'll check out Autumn Sonata, Cries and Whispers, or The Virgin Spring to see if this set is worth it for me.

I agree, Domino, $300 is a very reasonable price for such a large set. But one question remains: where's the wacky C?!
I'd recommend the Virgin Spring for sure. I didn't get much out of Persona the first time I saw it either, but it grows with time and exposure to what Bergman does

Werewolf by Night

Re: Ingmar Bergman's Cinema

#12 Post by Werewolf by Night » Thu Jul 12, 2018 3:24 pm

Oh god, slots. I just can't. And what am I going to do with all these Bergman Blu-rays I already bought?

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Newsnayr
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Re: Ingmar Bergman's Cinema

#13 Post by Newsnayr » Thu Jul 12, 2018 3:26 pm

Incredibly intrigued by the description of it as being "arranged as a film festival with opening and closing nights bookending double features and centerpieces."

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FrauBlucher
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Re: Ingmar Bergman's Cinema

#14 Post by FrauBlucher » Thu Jul 12, 2018 3:28 pm

I’m surprised When It Rains on our Love didn’t make it. This is an early favorite for me. Saw it during the recent Bergman tour.

But thrilled to have much of the Eclipse set on Bluray.

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mfunk9786
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Re: Ingmar Bergman's Cinema

#15 Post by mfunk9786 » Thu Jul 12, 2018 3:29 pm

Gotta be the most anticipated release [from announcement to release date] in Criterion's history, right? I can't imagine anyone who posts here not buying this

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domino harvey
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Re: Ingmar Bergman's Cinema

#16 Post by domino harvey » Thu Jul 12, 2018 3:29 pm

FrauBlucher wrote:
Thu Jul 12, 2018 3:28 pm
But thrilled to have much of the Eclipse set on Bluray.
Ironically the one they left out because his didn't direct it is the best of that set!

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domino harvey
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Re: Ingmar Bergman's Cinema

#17 Post by domino harvey » Thu Jul 12, 2018 3:30 pm

mfunk9786 wrote:
Thu Jul 12, 2018 3:29 pm
Gotta be the most anticipated release [from announcement to release date] in Criterion's history, right? I can't imagine anyone who posts here not buying this
I am tempted to get one of those wall calendars and make a big red circle around Nov 20. Four months seems so far away...

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mfunk9786
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Re: Ingmar Bergman's Cinema

#18 Post by mfunk9786 » Thu Jul 12, 2018 3:31 pm

Come onnnnnnn Amazon pricing mistake, let's go baby

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FrauBlucher
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Re: Ingmar Bergman's Cinema

#19 Post by FrauBlucher » Thu Jul 12, 2018 3:32 pm

domino harvey wrote:
FrauBlucher wrote:
Thu Jul 12, 2018 3:28 pm
But thrilled to have much of the Eclipse set on Bluray.
Ironically the one they left out because his didn't direct it is the best of that set!
Agree! That’s too bad.

phoenix474
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Re: Ingmar Bergman's Cinema

#20 Post by phoenix474 » Thu Jul 12, 2018 3:32 pm

Coming out on my actual birthday. Looks like a must own for us Bergman fans, although I'm pretty sad Shame and Hour of the Wolf aren't getting their own releases (mostly cause I just think they deserve spine numbers)

Werewolf by Night

Re: Ingmar Bergman's Cinema

#21 Post by Werewolf by Night » Thu Jul 12, 2018 3:33 pm

mfunk9786 wrote:
Thu Jul 12, 2018 3:29 pm
I can't imagine anyone who posts here not buying this
Which means—haha—that everyone will have to own All These Women.

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hearthesilence
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Re: Ingmar Bergman's Cinema

#22 Post by hearthesilence » Thu Jul 12, 2018 3:33 pm

Jesus, if I can get this during a flash sale (i.e. for $150), that would be amazing. I already have eight of his films on BD with the intention of getting more - if I can sell those off for minimal loss, I'm definitely picking this up.

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mfunk9786
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Re: Ingmar Bergman's Cinema

#23 Post by mfunk9786 » Thu Jul 12, 2018 3:34 pm

Can anyone check their Barnes & Noble receipt for the Virgin Spring Blu-ray to see if it says "SUCKER" on it?

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aox
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Re: Ingmar Bergman's Cinema

#24 Post by aox » Thu Jul 12, 2018 3:35 pm

Wow. That's incredibly cheap.

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Ribs
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Re: Ingmar Bergman's Cinema

#25 Post by Ribs » Thu Jul 12, 2018 3:35 pm

hearthesilence wrote:
Thu Jul 12, 2018 3:33 pm
Jesus, if I can get this during a flash sale (i.e. for $150), that would be amazing. I already have eight of his films on BD with the intention of getting more - if I can sell those off for minimal loss, I'm definitely picking this up.
Amazon has for the past several sales price-matched BN for any box sets above the free shipping threshold, so I’ve no doubt assuming there’s still a Criterion sale that everyone should be able to get one.

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