Ingrid Bergman - Ingrid Bergman
Ingrid Bergman | |
|---|---|
 Bergman 1944 yilda | |
| Tug'ilgan | 1915 yil 29-avgust Stokgolm, Shvetsiya |
| O'ldi | 1982 yil 29-avgust (67 yosh) London, Angliya |
| Dam olish joyi | Norra Begravningsplatsen Stokgolm, Shvetsiya |
| Kasb | Aktrisa |
| Faol yillar | 1932–1982 |
Taniqli ish | |
| Turmush o'rtoqlar | |
| Bolalar | 4, shu jumladan Pia Lindström va Izabella Rossellini |
| Mukofotlar | Mukofotlar va nominatsiyalar ro'yxati |
| Imzo | |
 | |
Ingrid Bergman[a] (1915 yil 29 avgust - 1982 yil 29 avgust) - Evropa va Amerikaning turli filmlarida, televizion filmlarida va spektakllarida rol o'ynagan shved aktrisasi.[1] 50 yillik mansab bilan,[2] u ko'pincha kino tarixidagi eng nufuzli ekran arboblaridan biri sifatida qaraladi.[3] U g'alaba qozondi ko'plab maqtovlar shu jumladan uchta Oskar mukofotlari, ikkitasi Primetime Emmy mukofotlari, a Toni mukofoti, to'rtta Oltin globus mukofotlari va a BAFTA mukofoti.
Bergman tug'ilgan Stokgolm shved otasi va nemis onasiga va shved va nemis filmlarida aktyorlik faoliyatini boshladi. Uning amerikaliklar bilan tanishishi ingliz tilidagi remake-da paydo bo'ldi Intermezzo (1939). Ga qo'shimcha sifatida Kasablanka (1942), 19-asrning 40-yillarida Bergmanning diqqatga sazovor spektakllariga dramalar kiradi Qo'ng'iroq kim uchun (1943), Gaslight (1944), Aziz Maryam qo'ng'iroqlari (1945) va Joan of Arc (1948), bularning barchasi uning nominatsiyalariga sazovor bo'ldi Eng yaxshi aktrisa uchun Oskar mukofoti; u mukofotga sazovor bo'ldi Gaslight. U uchta filmni suratga oldi Alfred Xitkok shu jumladan Spellbound (1945) va Mashhur (1946).
1950 yilda u rol o'ynadi Roberto Rossellini "s Stromboli, u rejissyor bilan nikohdan tashqari aloqada bo'lganligi haqidagi vahiydan keyin. Rossellini bilan ishqiy munosabatlar va keyin turmush qurish AQShda janjal keltirib chiqardi, uni Rossiyada bir necha yil davomida Evropada qolishga majbur qildi va shu vaqt ichida Rossellini's filmida rol o'ynadi. Italiyaga sayohat (1954), hozirda tanqidiy tan olingan. U Gollivud studiyasida ishlashga muvaffaqiyatli qaytdi Anastasiya (1956), ikkinchi eng yaxshi aktrisa uchun Oskar mukofotiga sazovor bo'ldi.
Keyingi yillarda Bergman o'zining uchinchi "Oskar" mukofotini qo'lga kiritdi Eng yaxshi ikkinchi darajali aktrisa, uning kichik roli uchun Orient Express-da qotillik (1974). 1978 yilda u direktor bilan ishlagan Ingmar Bergman yilda Kuzgi sonata, buning uchun u "Oskar" mukofotining oltinchi eng yaxshi aktrisa nominatsiyasini oldi. Oxirgi aktyorlik rolida u Isroilning marhum Bosh vaziri obrazini yaratdi Golda Meyr televizion mini-seriyada Golda deb nomlangan ayol (1982) uchun u o'limidan keyin ikkinchi g'olib bo'ldi Emmi mukofoti eng yaxshi aktrisa uchun. Bergman o'zining oltmish yettinchi tug'ilgan kunida (1982 yil 29-avgust) vafot etdi ko'krak bezi saratoni.
Ga ko'ra Sent-Jeyms Ommaviy madaniyat ensiklopediyasi, Bergman tezda "amerikalik ayollik idealiga" va Gollivudning eng buyuk etakchi aktrisasiga da'vogarga aylandi.[4] Qo'shma Shtatlarda u ekranga ajoyib go'zallik va aql-zakovat bilan bir qatorda "shimoliy tazelik va hayotiylikni" keltirgan deb hisoblanadi; Devid O. Selznik bir vaqtlar uni o'zi bilan birga ishlagan "eng vijdonli aktrisa" deb atagan. 1999 yilda Amerika kino instituti Bergmanni to'rtinchi eng katta ayol deb tan oldi ekran afsonasi ning Klassik Gollivud kinosi.[5]
Hayotning boshlang'ich davri
Ingrid Bergman 1915 yil 29 avgustda Stokgolmda shved otasi Yustus Samuel Bergman (1871 yil 2 may - 1929 yil 29 iyul) da tug'ilgan.[7] va uning nemis rafiqasi Frida Henriette Ogyust Luis (vanee Adler) Bergman (1884 yil 12 sentyabr - 1918 yil 19 yanvar) Kiel.[8][9] Uning ota-onasi uylangan Gamburg 1907 yil 13-iyunda.[10][11] U ismini oldi Shvetsiya malikasi Ingrid. U Shvetsiyada o'sgan bo'lsa-da, yozini Germaniyada o'tkazdi va nemis tilida yaxshi gaplashdi.[12]
Bolaligida va bolaligida Bergman ketma-ket muhim yo'qotishlarni boshdan kechirdi, bu esa tashlab yuborilishi mumkin edi. U ikki-uch yoshida onasi vafot etdi. Yustus Bergman uni opera yulduzi bo'lishini istagan va uch yil davomida ovozli saboqlardan foydalangan.[13] U uni Stokgolmdagi nufuzli qizlar maktabiga - Palmgrenska Samskolanga yubordi. Bergman na yaxshi talaba, na mashhur o'quvchi edi.[14] Yustus fotosuratchi bo'lganligi sababli, u o'zining barcha tug'ilgan kunlarini kamerasi bilan hujjatlashtirishni yaxshi ko'rardi.[15] U qizini sevimli fotosurat mavzularidan biriga aylantirdi. U raqsga tushishni, kiyinishni va otasining linzalari oldida harakat qilishni yaxshi ko'rardi.[16] "Men, ehtimol, Skandinaviyadagi eng ko'p suratga tushgan bola edim", deb kinoya qilgan Bergman keyingi yillarda.[16] 1929 yilda, Bergman 13 yoshida, otasi oshqozon saratonidan vafot etdi. Bunday nozik yoshda ota-onasidan ayrilish Bergman uchun travma edi, keyinchalik u "og'riq bilan yashash" deb ta'riflagan, bu tajribani o'zi ham bilmagan.[16]
O'limidan so'ng, u singlisi Ellen Bergman bilan yashashga jo'natildi, u olti oydan keyin ham yurak xastaligidan vafot etdi. Keyin Bergman onasining ammasi Xulda va o'zlarining beshta farzandi bo'lgan eri Otto bilan yashagan. Shuningdek, u boshqa onasi xolasi Elza Adlerga tashrif buyurdi, uni yosh qiz chaqirdi Mutti (Onam) oilaviy ma'lumotlarga ko'ra.[8]:294 Keyinchalik u "boshidanoq u aktrisa bo'lishni xohlayotganini bilganini", ba'zida vafot etgan onasining kiyimini kiyganini va otasining bo'sh studiyasida sahna asarlarini sahnalashtirganini aytdi.
Bergman shved va nemis tillarida so'zlasha olar edi birinchi tillar, Ingliz va italyan tillari (keyinchalik AQSh va Italiyada yashab, sotib olingan),[17] va frantsuz tili (maktabda o'rgangan). U turli vaqtlarda ushbu tillarning har birida ishlagan.[18]
Bergman davlat homiyligida stipendiya oldi Qirollik dramatik teatr maktabi, qayerda Greta Garbo bir necha yil oldin shunga o'xshash stipendiya olgan edi. Bir necha oydan so'ng unga yangi spektaklda ishtirok etishdi, Ett Brott (Jinoyat), tomonidan yozilgan Sigfrid Siverts. Bu maktabda "umuman tartibga qarshi edi", chunki qizlar bunday aktyorlik rollarini olishdan oldin uch yillik o'qishni tugatishi kerak edi.[8]:33 Birinchi yozgi ta'til paytida Bergman Shvetsiya kinostudiyasiga ishga qabul qilindi va shu bilan u bir yildan so'ng to'liq kunlik filmlarda ishlash uchun Qirollik dramatik teatrini tark etdi.
Karyera
1935-1938: Shvetsiya yillari
Bergmanning birinchi film tajribasi xuddi shunday bo'lgan qo'shimcha 1932 yilgi filmda Landskamp, bu voqeani u "muqaddas zaminda yurish" deb ta'riflagan.[16] Uning birinchi nutqdagi roli kichik rol o'ynadi Munkbrogreven (1934).[19] Bergman etakchi odam tomonidan ta'qib qilinadigan urug'li mehmonxonada xizmatkor Elza rolini o'ynadi, Edvin Adolphson. Tanqidchilar uni "balandparvoz va o'ziga ishongan" va "ortiqcha vaznga ega ... o'zlarining so'zlarini g'ayrioddiy tarzda gapirish bilan" chaqirishgan. U kiygan bejirim chiziqli kostyum, uning tashqi qiyofasiga nisbatan yoqimsiz izohlarga sabab bo'lishi mumkin.[20][19] Ko'p o'tmayMunkbrogreven, Bergmanga studiya shartnomasi taklif qilindi va direktor lavozimiga joylashtirildi Gustaf Molander.[19]
U aktyorlik faoliyatini kun bo'yi davom ettirish uchun Qirollik dramatik teatrini tark etdi. Bergman rol o'ynadi Okean to'siqlari unda u baliqchining qizini o'ynadi, keyin esa Shvetsiyaliklar, u erda uning buti bilan birga ishlash imkoniyati mavjud edi Gösta Ekman. Keyin u rol o'ynadi Walpurgis kechasi (1935).[19] [20] U xo'jayini, baxtsiz turmush qurgan Yoxanni sevadigan kotib Lena rolini o'ynaydi. Butun vaqt davomida Lena va uning rafiqasi, Yoxanning xotiniga bo'lgan mehr-oqibati uchun, oxir-oqibat erini Lenadan mahrum qilishdi. [20] 1936 yilda, yilda Quyoshli tomonda u boy keksa odamga uylanadigan yaxshi oiladan etim sifatida tashlandi.
Shuningdek, 1936 yilda u paydo bo'ldi Intermezzo, u Gösta Ekman bilan birlashtirilgan birinchi qo'rg'oshin ijrosi. Bu yosh aktrisa uchun muhim film edi va uning iste'dodini namoyish etishiga imkon berdi. Keyinchalik rejissyor Molander "Men u uchun Intermezzoni yaratganman, lekin uning muvaffaqiyati uchun men javobgar emas edim. Ingridning o'zi buni muvaffaqiyatli qildi" dedi. [19] 1938 yilda u rol o'ynadiFaqat bir kecha va dabdabada yashovchi yuqori sinf ayol manor uyi qizini o'ynadi. Unga bu qism yoqmadi, uni "axlat bo'lagi" deb atadi.[21] U faqat studiyaning navbatdagi film loyihasida ishtirok eta olsagina paydo bo'lishga rozi bo'ldi Eng kvinnas ansikte.[22][21] Keyinchalik u harakat qildi Dollar (1938), [20] skandinaviyalik vintbol komediyasi. Bergman o'tgan yili Shvetsiyaning eng yaxshi ko'rgan kino yulduzi deb tan olingan va eng yaxshi hisobotni olgan. Svenska Dagbladet uning sharhida yozgan; "Ingrid Bergmanning sanoat boyligi rafiqasi sifatida mushukcha ko'rinishi ularning barchasini soya qiladi."[21]
Keyingi filmida u uchun maxsus yaratilgan rol,Eng kvinnas ansikte (Ayolning yuzi), u o'zining odatdagi kastingiga qarshi, yuzi jirkanch kuyib ketgan achchiq va rahmdil xarakter sifatida o'ynadi. Anna Xolm - pul va zargarlik buyumlari uchun Stokgolmning boy aholisini nishonga oladigan shantaj to'dasining rahbari. [20] Filmda Bergman kuygan yuzni simulyatsiya qilish uchun yopishqoq bilan bir qatorda og'ir bo'yanishlarni ham talab qildi. Bir yonoq shaklini buzish uchun braket qo'yildi. [19] U o'zining kundaligida filmni «mening rasmim, o'zimning rasmim. Men buning uchun kurashganman ”. Tanqidchilar uning ijrosini juda yaxshi ko'rishar, uni katta iste'dod va irodali aktyor deb atashar edi.[19] Filmda Maxsus Tavsiya berilgan 1938 yil Venetsiya kinofestivali uning "umumiy badiiy hissasi" uchun.[23] Bu 1941 yilda qayta tiklangan Metro-Goldvin-Mayer xuddi shu nom bilan, bosh rollarda Joan Krouford. [24]
Bergman Germaniyaning yirik kinokompaniyasi UFA bilan uch rasmli shartnoma imzoladi, garchi u faqat bitta rasmni yaratgan bo'lsa. O'sha paytda u homilador edi, ammo baribir u filmni suratga olishni boshlash uchun Berlinga keldiTo'rt sahoba (Die vier Gesellen) (1938), rejissyor Karl Froelich. Film Bergmanning Germaniyadagi faoliyatini boshlash uchun yulduzli vosita sifatida mo'ljallangan edi.[25]:157 [19] Filmda u to'rtta ambitsiyali yosh ayollardan biri rolini o'ynab, grafik dizayn agentligini yaratishga harakat qildi. Film komediya va romantikaning yengiltak kombinatsiyasi edi. Dastlab u Germaniyadagi siyosiy va ijtimoiy vaziyatni tushunmadi. Keyinchalik u dedi: "Agar siz umuman biron bir odam bo'lsangiz, siz fashistlar partiyasi a'zosi bo'lishingiz kerakligini tezda angladim".[19] Sentyabrga kelib, u Shvetsiyaga qaytib keldi va qizi Piyani tug'di. U boshqa Germaniyada ishlamasligi kerak edi.[26][19]
Bergman o'zining vatani Shvetsiyada yigirma besh yoshga to'lgunga qadar o'n bitta filmda paydo bo'ldi. Uning belgilarida doimo noaniqlik, qo'rquv va xavotir bor edi. Dastlabki shved filmlari durdonalar emas edi,[27] ammo u Shvetsiya kino sanoatidagi Gösta Ekman, Karin Swanström, Viktor Shtestrom va Lars Xanson singari eng katta iste'dodlar bilan ishlagan. Bu uning ulkan aktyorlik qobiliyatini, porloq kelajagi bo'lgan yosh ayol sifatida namoyish etdi.[20]
1939-1949: Gollivud va sahna asarlari yutug'i
Bergmanning Qo'shma Shtatlardagi birinchi aktyorlik roli Intermezzo: Sevgi tarixi tomonidan Gregori Ratoff premyerasi 1939 yil 22 sentyabrda bo'lib o'tdi.[28] U taklifni qabul qildi Gollivud ishlab chiqaruvchi Devid O. Selznik, unga ilgari shved filmining ingliz tilidagi remeykida ishtirok etishini tilagan Intermezzo (1936). U ingliz tilida gapira olmagan va amerikalik tomoshabinlar tomonidan qabul qilinganligini aniq bilmaganligi sababli, u ushbu filmni suratga olib, Shvetsiyaga uyiga qaytishini kutgan. Uning eri, doktor Petter Aron Lindstrem, qizi Pia (1938 yilda tug'ilgan) bilan Shvetsiyada qoldi.[8]:63 Yilda Intermezzo, u yosh pianino akkompanisti rolini o'ynadi, aksincha Lesli Xovard, mashhur skripka virtuozini ijro etgan. Bergman kirib keldi Los Anjeles 1939 yil 6-mayda va boshqa turar joy topguncha Selznik uyida qoldi.
O'sha paytda bolaligida bo'lgan Selznikning o'g'li Deni so'zlariga ko'ra, uning otasi Bergman haqida xavotirga tushgan: "U ingliz tilida gapirmasdi, u juda baland edi, ismi juda nemisga o'xshardi va qoshlari juda qalin edi". Tez orada Bergman Selznikning ba'zi dastlabki takliflariga qaramay, tashqi ko'rinishini yoki ismini o'zgartirmasdan qabul qilindi.[8]:6 "U unga yo'l qo'ydi", deb qayd etadi bir voqea Hayot jurnal. Selznik Gollivud vizajistlaridan qo'rqishini tushundi, ular uni tanimaydigan odamga aylantirishi mumkin va "ishdan bo'shatishni buyurdi". U o'zining go'zal qiyofasi Gollivudning "sintetik razzle-dazzle" bilan muvaffaqiyatli raqobatlashishini ham bilar edi.[15]
Keyingi haftalar davomida Intermezzo suratga olinayotgan edi, Selznik ham suratga olayotgan edi Shamol bilan ketdim. O'zining reklama ishlari bo'yicha direktori Uilyam Xebertga yozgan xatida Selznik o'zining Bergman haqidagi dastlabki taassurotlarini tasvirlab berdi:
Miss Bergman - men ishlagan, men suratga olishdan oldin va vaqt davomida faqat o'z ishidan boshqa hech narsa haqida o'ylamagan eng vijdonli aktrisa ... U deyarli hech qachon studiyani tark etmaydi va hatto uni taklif qilgan kiyinish xonasi u rasm paytida yashashi uchun jihozlangan. U hech qachon bir daqiqada soat oltida ishdan chiqishni yoki shunga o'xshash narsalarni taklif qilmaydi ... To'rt yulduz harakat qilgani uchun Shamol bilan ketdim, bizning yulduzcha kiyinish xonalari band edi va biz unga kichikroq xonani tayinlashimiz kerak edi. U bundan zavqlanib, hayotida hech qachon bunday to'plamga ega bo'lmaganligini aytdi ... Bularning barchasi mutlaqo ta'sirlanmagan va mutlaqo noyobdir va men uning reklamasiga katta yondashuvni taklif qilaman deb o'ylayman ... tabiiy shirinlik va mulohazakorlik va vijdonlilik afsonaga aylanadi ... va men uni imzolashimga sabab bo'lgan yangi va toza shaxsiyat va tashqi ko'rinishga to'liq mos keladi.[29]:135–136
Intermezzo ulkan muvaffaqiyatga aylandi va natijada Bergman yulduzga aylandi. Ratoff, "U shov-shuvli" dedi. Bu "butun to'plamning fikri" edi, deb yozgan retrospektiv,[noaniq ] ishchilar u uchun biron bir narsa qilish uchun o'zlarining yo'llaridan ketishganini, shuningdek, aktyorlar va ekipaj "u tezkor va sergak konsentratsiyaga uning ko'rsatmalariga va uning saflariga qoyil qolishganiga" qoyil qolishgan.[15] Kino tarixchisi Devid Tomson Uning ta'kidlashicha, bu "Gollivud va Amerikaga hayratlanarli ta'sirning boshlanishi" bo'lib, uning makiyajsizligi "zodagonlar havosiga" yordam bergan. Ga binoan Hayot, u Shvetsiyaga qaytib kelganidan keyin Gollivudda qoldirgan taassurotida baland bo'yli qiz "ochiq jigarrang sochlari va moviy ko'zlari bilan og'riqli uyatchang, ammo do'stona, iliq, to'g'ri, tez tabassum bilan" bo'lgan.[15] Selznik uning o'ziga xosligini yuqori baholadi.[30]:76 Bergman yangi iste'dod sifatida tan olindi va ko'plab ijobiy sharhlarni oldi. The New York Times uning "tetikligi va soddaligi va tabiiy qadr-qimmati" va aktyorlik mahoratini ta'kidladi, ammo u "etuk aktrisaning savdo zaxirasiga aylangan uslubiy xususiyatlar - uslublar, duruşlar, aniq burilishlar" dan xoli edi. Turli xillik u iliq va ishonuvchanligini ta'kidlab, "hibsga olinadigan ijro" ni taqdim etdi va uning "jozibasi, samimiyligi" ... va "yuqumli jonkuyarligi" unga "ham komediyada, ham dramada yaxshi xizmat qiladi". Boshqa film aktrisalaridan farqli o'laroq, uning tabiiy qiyofasi tan olingan. The New York Tribune dedi: "Deyarli har qanday bo'yanish vositasidan foydalangan holda, lekin mobil intensivlikda o'ynab, u xarakterni shunchalik jonli va ishonchli yaratadiki, u [bayon] ning asosiy qismiga aylanadi".[31]:73–74Bergman o'zining sahnadagi debyutini 1940 yilda boshlagan Lilliom qarama-qarshi Burgess Meredit,[17] u hali ham ingliz tilini o'rganayotgan paytda. Selznik, yomon yulduzlar bahosini oladigan bo'lsa, yangi yulduzcha qiymati pasayib ketishidan xavotirda edi. Bruks Atkinson The New York Times Bergmanning bemalol tuyulganini ko'rib chiqdi va shu kuni kechqurun sahnaga buyruq berdi.[14] O'sha yili u rol o'ynagan Iyun kechasi, (Juninatten) a Shved tili drama rejissyorlik qilgan film Per Lindberg.[32] U Kerstinni, sevgilisi tomonidan o'qqa tutilgan ayolni o'ynaydi. Yangiliklar milliy gazetalarga etib boradi. Kerstin Saraning yangi nomi bilan Stokgolmga ko'chib o'tadi, ammo yangi jamoasining nazorati ostida va hushyor ko'zlari ostida yashaydi. Oresunds-Posten "Bergman o'zini jahon elitasiga mansub aktrisa sifatida namoyon qiladi" deb yozgan. [20]
Bergman 1941 yilda chiqqan uchta filmda suratga tushish uchun Devid O. Selznikning kompaniyasidan ijaraga olingan. 18 fevral kuni Robert Sherwood Productions Gregori Ratoff bilan ikkinchi hamkorligini chiqardi. Odam Atoning to'rt o'g'li bor edi.[33] 7 mart kuni, Metro-Goldvin-Mayer ozod qilindi V. S. Van Deyk "s Osmondagi g'azab.[34] 12 avgust kuni Viktor Fleming "s Doktor Jekil va janob Xayd, yana bir Metro-Goldwyn-Mayer ishlab chiqarish, Nyu-Yorkda ochildi. Bergman doktor Jekilning kelinining "yaxshi qiz" rolini ijro etishi kerak edi, ammo studiyadan u "yomon qiz" Ayvini, sho'rva barmaidasini o'ynashini iltimos qildi.[35] Sharhlarda "u nozik soyali spektakl namoyish etgani" ta'kidlangan. New York Times gazetasining sharhida "... shved yosh aktrisa yana bir bor yorqin iste'dod o'zini ba'zan imkonsiz yozilgan roldan ko'tarishi mumkinligini isbotlaydi ..." deb ta'kidlangan.[36]:84 Boshqa bir sharhda: "... u jozibadorlik, tushuncha, o'zini tutish va aktyorlik qobiliyatining jirkanch kombinatsiyasini namoyish etadi." [36]:85
1941 yil 30 iyulda Santa Barbaradagi Lobero teatrida Bergman o'zining ikkinchi sahnasida chiqdi Anna Kristi.[17][14] U Eugene O'Neill asari asosida sahnalashtirilgan spektaklda fohisha sifatida o'ynashi uchun maqtovga sazovor bo'ldi. San-Frantsisko gazetasida u yangi shved qor to'pi singari buzilmaganligi aytilgan. Selznik uni "The Palmolive Garbo ", mashhur sovunga ishora va o'sha davrning taniqli shved aktrisasi. Tornton Delaxarti shunday dedi:" Ingrid bilan tushlik qilish aqlli orkide bilan bir soat yoki undan ko'proq vaqt o'tirishga o'xshaydi ".[37]
Kasablanka, tomonidan Maykl Kurtiz, 1942 yil 26-noyabrda ochilgan.[38] Bergman birgalikda suratga tushgan Xemfri Bogart filmda; bu uning eng taniqli roli bo'lib qolmoqda. U Laszlo bilan AQShga qochib ketgan Rik Bleyn va Viktor Lasloning rafiqasi Ilsa rolini o'ynadi.[8] Filmning premyerasi 1942 yil 26-noyabrda Nyu-Yorkda bo'lib o'tdi Gollivud teatri. Hollywood Reporter "Voqealar keskin hazil va siyosiy satiraning yoqimli taassurotlari bilan suratga olingan" deb yozgan.[39] 1943 yil yanvar oyida u umumiy nashrga chiqdi.[31]:86Kasablanka Bergmanning sevimli tomoshalaridan biri emas edi. "Men bundan ham muhimroq bo'lgan juda ko'p filmlarni suratga oldim, ammo odamlar haqida gaplashishni istagan yagona narsa - bu Bogart bilan bo'lgan film".[40] Keyingi yillarda u: «Men o'zimni yaxshi ko'raman Kasablanka uning o'ziga xos hayoti borligini. Bu erda sirli narsa bor. Filmga qadar bo'lgan ehtiyojni, filmni to'ldirishdan oldin bo'lgan ehtiyojni to'ldirganga o'xshaydi ".[8]:88 Bodley Crowther uning ijrosi bilan bog'liq shaxsiy qarashlariga qaramay The New York Times "... Bergman hayratlanarli darajada yoqimli, tiniq va tabiiy edi ... va romantik parchalarni iliq va chinakam nur bilan yoritadi" dedi. Boshqa sharhlovchilar u "qahramonni ... jozibali hokimiyat va go'zallik bilan [o'ynaydi]" va "u paydo bo'lgan har bir sahnani yoritadi" va uni "yosh Garbo" bilan taqqosladilar. [31]:89
Qo'ng'iroq kim uchun 1943 yil 14-iyulda Nyu-Yorkda premerasi bo'lgan.[41] "Selznikning barqaror kuchayishi" bilan u Mariya rolini o'ynadi, bu uning birinchi rangli filmi edi. Ushbu rol uchun u o'zining birinchi "Oskar" mukofotiga nomzodini oldi Eng yaxshi aktrisa. Film moslashtirildi Ernest Xeminguey "s xuddi shu nomdagi roman va birgalikda rol ijro etgan Gari Kuper. Kitob sotilganda Paramount rasmlari, Xeminguey "Miss Bergman, boshqa hech kim rol o'ynamasligi kerak", deb ta'kidladi. Uning fikri uni birinchi amerikalik rolida ko'rishdan kelib chiqdi, Intermezzo. Ular bir necha haftadan so'ng uchrashishdi va uni o'rgangach, u: «Siz bor Mariya! ".[15] Jeyms Eji, yozish Millat - dedi Bergman ... "tasavvur qiladigan odamga hayratlanarli o'xshashlik qiladi; u haqiqatan ham jimgina realizm bilan she'riy inoyat aralashgan holda qanday harakat qilishni biladi,[4] Deyarli hech qachon Amerika rasmlarida ko'rinmaydi. "U o'zining xarakterini zo'rlaganini tan olganligi va xayrlashish sahnasi haqida" harakatlanuvchi tarzda gapiradi, bu esa tomosha qilishni buzadi. ". Ege Bergman haqiqatan ham Mariya nimani his qilishi va qanday ko'rinishi mumkinligini o'rganganiga ishongan. Gollivud filmida emas, balki haqiqiy hayot. Uning ijrosi "halokatli va ko'rish juda ajoyib ..." [31]:94
Gaslight 1944 yil 4-mayda ochilgan. [42] Bergman uni birinchi bo'lib yutdi Eng yaxshi aktrisa uchun Oskar mukofoti uning ishlashi uchun. Rahbarligi ostida Jorj Kukor, u o'ynagan eri tomonidan "aqldan ozgan ayol" tasvirlangan Charlz Boyer. Tomsonning so'zlariga ko'ra, film "uning Gollivud shon-sharafining eng yuqori cho'qqisi bo'lgan".[30]:77 Sharhlovchilar uning xushyoqar va emotsional ijrosini ta'kidlab, hissiyotning "isteriyaga o'tishiga" yo'l qo'ymay, o'zini tuta bilishini ta'kidladilar. The New York Journal-American uni "filmdomning eng yaxshi aktrisalaridan biri" deb atadi va "u ehtirosda alangalanadi va depressiyada miltillaydi, tomoshabinlar uning o'rindiqlarida qattiq turguncha" dedi. [31]:99–100
Aziz Maryam qo'ng'iroqlari premerasi 1945 yil 6-dekabrda bo'lib o'tdi.[43] Bergman qarama-qarshi rohiba rolini o'ynadi Bing Krosbi, buning uchun u ketma-ket uchinchi eng yaxshi aktrisa nominatsiyasini oldi. Krosbi Rim katolik maktabiga tayinlangan ruhoniyning rolini o'ynaydi, u erda u Bergman o'ynagan direktor bilan to'qnashadi. Sharhlovchi Natan Robin shunday dedi: "Krosbining lakonik yengilligi Bergmanning ingichka chinnigullaridagi beg'uborlikni keltirib chiqaradi va Bergman Krosbi uchun hayratlanarli darajada jirkanch va ruhiy komik plyonkani isbotlaydi".[44] Film 1945 yilgi eng katta kassa bo'ldi.[45]
Alfred Xitkok "s Spellbound premerasi 1945 yil 28 dekabrda.[46] Yilda Spellbound, Bergman doktor Konstans Pitersen rolini o'ynagan, psixiatr, uning tahlillari doktor Entoni Edvardes tomonidan yoki yo'qligini aniqlashi mumkin. Gregori Pek, qotillikda aybdor. Rassom Salvador Dali orzular ketma-ketligini yaratish uchun yollangan, ammo otilganlarning aksariyati Selznik tomonidan kesilgan.[47] Film davomida u bilan birga bo'lish imkoniyati mavjud edi Maykl Chexov, 1940-yillarda uning vazifasini bajaruvchi murabbiy bo'lgan.[48] Bu u Hitchcock bilan qilgan uchta hamkorlikning birinchisi bo'ladi.[49]
Keyin Bergman rol o'ynadi Saratoga magistrali, Gari Kuper bilan, dastlab 1943 yilda suratga olingan, ammo 1946 yil 30 martda chiqdi.[50] Dastlab u chet eldagi qurolli kuchlarga chiqarildi. Urush mavzusidagi va vatanparvarlik haqidagi o'z vaqtida namoyish etilgan filmlarga e'tibor berib, Uorner Bros Qo'shma Shtatlarda teatr ochilishini to'xtatdi.[51] 6 sentyabr kuni "Hitchcock's" ning premyerasi bo'lib o'tdi Mashhur.[52] Unda Bergman fashistlarning xayrixohlariga kirib borish uchun topshiriq berilgan AQSh josusi Alicia Hubermanni o'ynagan. Janubiy Amerika. Yo'lda u o'ynagan do'sti josusni sevib qoldi Kari Grant. Filmda ham rol ijro etgan Klod yomg'ir ikkinchi darajali aktyor tomonidan Oskar nomzodi bo'lgan ijroda. Ga binoan Rojer Ebert, Mashhur Hitchcockning vizual uslubining eng nafis ifodasidir.[53] "Mashhur u mening sevimli Hitchcock "deb ta'kidladi u BFI, Samuel Uigli uni "mukammal" film deb atadi.[54] Mashhur tomonidan tanlangan Milliy filmlar registri 2006 yilda madaniy va muhim ahamiyatga ega.[55]
1946 yil 5-oktyabrda Bergman paydo bo'ldi Loraniyalik Joan Nyu-Yorkdagi Alvin teatrida. Chiptalar o'n ikki hafta davomida to'liq buyurtma qilingan. Bu Nyu-Yorkdagi eng katta hit edi. Har bir chiqishdan keyin olomon Bergmanni shaxsan ko'rish uchun navbatda turishardi. Newsweek uni "Brodvey mavsumi malikasi" deb atagan. Xabarlarga ko'ra, u taxminan 129000 dollar va 15 foiz daromad oldi. Associated Press unga "Yilning eng yaxshi ayollari" deb nom berdi. Gallup uni Amerikadagi eng mashhur aktrisa sifatida tasdiqladi.[14]
1948 yil 17-fevralda, Tantana kamari, tomonidan Lyuis Milestone Bergman bilan ozod qilindi va Charlz Boyer bosh rollar sifatida[56] Erix Mariya Remarkning kitobi asosida u Parijdagi tungi klubda kabare xonandasi bo'lib ishlaydigan italiyalik-ruminiyalik qochqin Joan Madoning hikoyasini ta'qib qiladi. Sevgilisining to'satdan o'limidan tashvishga tushib, u Sena daryosiga sho'ng'ib, o'z joniga qasd qilishga urinib ko'rdi, ammo uni nemis jarrohi (Charlz Boyer) doktor Ravich qutqardi.[57][58] 1948 yil 11-noyabrda, Joan of Arc uning dunyo premyerasi bo'lib o'tdi.[59] Uning roli uchun Bergman yana bir eng yaxshi aktrisa nominatsiyasini oldi. Mustaqil film Maksvell Anderson pyesasi asosida ishlangan Loraniyalik Joan unga erishgan a Toni mukofoti o'sha yilning boshida.[17] Tomonidan ishlab chiqarilgan Valter Vanger va dastlab orqali chiqarilgan RKO. Bergman Gollivudga kelganidan beri bu rolni qo'llab-quvvatlagan, keyin Anderson o'yinida Brodvey sahnasida paydo bo'lishni tanlagan. Film jamoatchilik orasida katta hit bo'lmadi, qisman Rossellini janjali tufayli, film hali ham kinoteatrlarda bo'lganida. Bundan ham yomoni, u halokatli sharhlarni oldi va garchi bir nechta Oskar mukofotiga nomzod bo'lsa ham, "Eng yaxshi film" nominatsiyasini olmadi. Keyinchalik u 45 daqiqaga qisqartirildi, ammo 1998 yilda to'liq tiklandi va 2004 yilda DVD-da chiqdi.
Uloq ostida 1949 yil 9-sentabrda, Bergman va Xitkokning yana bir hamkorligi sifatida namoyish etilgan.[60] Film 1770 yil Avstraliyada bo'lib o'tdi. Hikoya Charlz Adare rolini o'ynaydi Maykl Uilding, kirib keladi Yangi Janubiy Uels amakisi bilan. Omadini topishga intilgan Adare Sam Fluski bilan uchrashadi (Jozef Kotten ), Charlzning bolalikdagi do'sti Ledi Henrietta (Bergman) bilan turmush qurgan, alkogolli odam o'z uyida qulflangan. Ko'p o'tmay, Fluskiy Adarening xotiniga bo'lgan mehridan hasad qiladi. Film tanqidchilarning salbiy reaktsiyalariga duch keldi. Ba'zi bir negativlik, Bergmanning italiyalik rejissyor bilan ishini ma'qullamaslikka asoslangan bo'lishi mumkin Roberto Rossellini. Ularning janjalli munosabatlari, film namoyish etilgandan ko'p o'tmay aniq bo'ldi.[61]
1950−1955: Rossellini bilan italyan filmlari
Stromboli italiyalik rejissyor tomonidan chiqarilgan Roberto Rossellini 1950 yil 18-fevralda.[62] Bergman Rossellinining ikkita filmini juda yaxshi ko'rar edi. U 1949 yilda unga maktub yozib, hayratini bildirgan va u bilan film suratga olishni taklif qilgan. Natijada, u tashlandi Stromboli. Ishlab chiqarish paytida ular ish boshladilar va Bergman birinchi farzandiga homilador bo'ldi.[63]:18
Ushbu ish Qo'shma Shtatlarda katta janjalni keltirib chiqardi va bu Bergmanni polda qoralashga olib keldi. Amerika Qo'shma Shtatlari Senati. 1950 yil 14 martda senator Edvin C. Jonson bir vaqtlar sevimli aktrisasi "nikoh institutiga tajovuz qilgan" deb turib oldi va uni "yovuzlikka kuchli ta'sir" deb atashga qadar bordi.[64] "Sankt Bergmanning" Joan of Arc "rolini o'ynaganida odamlarni hazillashishiga sabab bo'lgan poklik," deb yozadi bitta yozuvchi, "Roberto Rossellini bilan bo'lgan munosabati haqida eshitgan tomoshabinlar ham, Amerika Qo'shma Shtatlari senatorlari ham xiyonat qildilar". San'at Buchvald, janjal paytida uning xatini o'qishga ruxsat berdi, intervyusida aks ettirilgan: "Eh, pochta yomon edi, o'n, o'n ikki, o'n to'rtta ulkan pochta sumkalari." Iflos fohisha ". "Kaltak." 'Itvachcha.' Va ularning hammasi buni yozgan nasroniylar edi. "[65]
Ed Sallivan jamoatchilik uning paydo bo'lishini xohlaganligini ko'rsatadigan so'rovnomaga qaramay, uni o'z shousida qatnashmaslikni tanladi.[66] Biroq, Stiv Allen, uning namoyishi bir xil darajada mashhur bo'lgan, uni keyinchalik mehmon "shaxsiy hayotining prizmasi orqali badiiy faoliyatni baholashga urinish xavfi" ni tushuntirib bergan.[66] Spoto ta'kidlashicha, Bergman o'zining rollari va ekran personaji tufayli o'zini "hamma narsadan ustun qo'ygan". U rohibaning rolini o'ynagan Aziz Maryam qo'ng'iroqlari (1945) va bokira avliyo Joan of Arc (1948). Keyinchalik Bergman: "Odamlar meni ko'rishdi Joan of Arcva meni avliyo deb e'lon qildi. Emasman. Men shunchaki ayolman, boshqa bir insonman. "[67]
Janjal natijasida, Bergman birinchi erini tashlab, Italiyaga qaytib keldi va qizi uchun ommaviy ravishda ajralish va hibsga olish kurashidan o'tdi. Bergman va Rossellini 1950 yil 24-mayda turmush qurishgan.[68]
Qo'shma Shtatlarda film a kassa bombasi lekin Bergman va Rossellinining ishi unchalik janjalli emas deb hisoblangan chet elda yaxshiroq ishladilar. Umuman olganda, RKO ushbu rasmda $ 200,000 yo'qotdi.[69] Italiyada u yilning eng yaxshi filmi sifatida Rim kinosi mukofotiga sazovor bo'ldi.[70][71]
Amerikadagi dastlabki qabul, ammo juda salbiy edi. Bosley Crowther ning The New York Times o'zining sharhini shunday deb yozdi: "" Stromboli "surati misli ko'rilmagan qiziqish uyg'otgandan so'ng - bu, albatta, Ingrid Bergman va Roberto Rossellini tomonidan amalga oshirilgan taqdirli dramaturgiya - bu juda keng tarqalganligini anglab etish hayratlanarli antiklimaksga o'xshaydi. e'lon qilingan film nihoyatda zaif, beparvo, ilhom baxsh etmaydi va alamli tarzda banaldir. " Krouterning ta'kidlashicha, Bergmanning xarakteri "hech qachon aniq va ravshan ta'rif bilan chizilmaydi, qisman ssenariyning noaniqligi, qisman Rossellini unga ko'rsatgan xiralik va monotonlik tufayli".[72]
Xodimlar Turli xillik "Rejissyor Roberto Rossellini film uchun javobgarlikni rad etib, amerikacha versiyasini RKO tanib bo'lmaydigan darajada qisqartirganini da'vo qilmoqda. Gap shundaki, kesilgan yoki kesilmagan, film unga hech qanday ishonchni aks ettirmaydi. Boshlang'ich maktablar suhbati va o'qish uchun imkonsiz sahnalarni hisobga olgan holda harakat qiling, Ingrid Bergman hech qachon chiziqlarni haqiqiy qilib ko'rsatolmaydi va his-tuyg'ularni mashqdan ko'proq ko'rinadigan darajada qo'zg'atmaydi ... Mashhur italiyalik rejissyorning yagona ko'zga ko'ringan teginishi - bu hayotning realistik, hujjatli ta'sirini qo'shadigan qattiq fotografiyada. Rosselinining realizmga moyilligi Bergmanga taalluqli emas, u har doim yangi, toza va ozoda ".[73] Harrisonning ma'ruzalari shunday deb yozgan edi: "Ko'ngil ochar ekan, uning bir necha daqiqalari bor, lekin umuman olganda, u sust, sekin yozilgan, yomon tahrirlangan va yozishda, yo'nalishda va aktyorlikda o'rtacha".[74] Jon Makkarten ning Nyu-Yorker kadrlarda "humdrum ustida ko'tarilgan hech narsa" yo'qligini aniqladi va Bergman "haqiqatan ham biron bir sahnada uning yuragiga o'xshamasligini" sezdi.[75] Richard L. Ko ning Washington Post "Chet elda ishlab chiqarilgan rasmlarga hech qachon bormaydigan ko'plab odamlar Rossellini-Bergman ismlari bilan bu narsaga jalb qilishlari va bu tekis, g'alati va asossiz rasmni men etishmayotgan narsa deb o'ylashlari juda achinarli".[76]
So'nggi baholashlar ijobiyroq bo'ldi. 2013 yilda filmni DVD-versiyasi bilan birgalikda ko'rib chiqish Criterion to'plami, Deyv Kehr filmni "zamonaviy Evropa kinematografiyasining kashshof ishlaridan biri" deb atadi.[77] Tanqidchi Fred Kemper filmni keng tahlil qilishda drama haqida "Ko'pgina kinematografiya durdonalari singari, Stromboli faqat qahramonning ruhiy holati va obrazini uyg'unlashtiradigan yakuniy sahnada to'liq izohlanadi. Ushbu tuzilish ... vahiyning o'zgaruvchan kuchiga ishonishni taklif qiladi. Vulqonga ko'tarilayotganda chamadonini tashlab yuborishga majbur bo'lgan (o'zi kelgan magistrallardan ancha kamtarroq) Karin mag'rurlikdan mahrum bo'lib, yig'layotgan bolaning ahvoliga tushgan yoki ko'tarilgan - bu birinchi odam , o'zini tutgan tuzoqlaridan voz kechib, shaxsiy "yil nolidan" (Rossellini filmining boshqa nomidan qarz olish uchun) yana ko'rishni va gapirishni o'rganishi kerak. "[78]
The Venetsiya kinofestivali tartiblangan Stromboli 100 ta eng muhim italyan filmlari orasida ("100 film italiani da salvare ") 1942–1978 yillarda. 2012 yilda Britaniya kino instituti "s Sight & Sound tanqidchilarning so'rovnomasi, shuningdek, uni 250 ta eng zo'r filmlardan biri sifatida qayd etdi.[79]
1952 yilda Rossellini Bergmanni boshqargan Evropa '51 u erda o'g'lining to'satdan o'limidan bezovta bo'lgan Irene Jirardni o'ynaydi.[80] Uning eri o'ynagan Aleksandr Noks tez orada engish, lekin Irene o'g'lini e'tiborsiz qoldirganlikda aybini yumshatish uchun hayotdagi maqsadga muhtoj ko'rinadi.[81]
Rossellini uni 1953 yilgi hujjatli filmining qisqacha qismida suratga olgan, Siamo donne (Biz, ayollar), bu film aktrisalariga bag'ishlangan.[63]:18 Uning tarjimai holi Piter Bondanellaning ta'kidlashicha, nikoh paytida aloqa bilan bog'liq muammolar uning filmlarida "axloqiy qadriyatlarga ega bo'lmagan dunyoda yolg'izlik, inoyat va ma'naviyat" mavzulariga ilhom bergan bo'lishi mumkin.[63]:19 1953 yil dekabrda Rossellini uni spektaklda boshqargan Joan of Arc qoziqda Italiyaning Neapol shahrida. Ular spektaklni Barselona, London, Parij va Stokgolmga olib borishdi. [17] Uning ijrosi odatda yaxshi baholandi.[14]
Ularning keyingi harakatlari shu edi Italiyadagi Viaggio (Italiyaga sayohat) 1954 yilda. Bu er-xotinning Neapolga (Italiya) meros qilib olingan uyni sotish uchun qilgan sayohati. Jonsiz nikoh tuzog'iga tushib qolgan, ular mahalliy aholining turmush tarziga ko'proq mos kelmaydi. [81] Jon Pattersonning so'zlariga ko'ra The Guardian, film Frantsiyaning yangi to'lqinini boshladi.[82] Martin Skorseze 2001 yilda o'zining qisqa metrajli filmida ushbu filmni sevimlilar qatoriga qo'shish uchun tanlagan. 1955 yil 17 fevralda, Joan qoziqda Stokgolm opera teatrida ochilgan. Asarda Shvetsiyada bosh vazir va boshqa teatr arboblari ishtirok etishdi. Shved Daily Bergman noaniq, salqin va xarizmaning etishmasligi kabi ko'rinadi. Bergman o'z ona yurtining ommaviy axborot vositalarining salbiy sharhlaridan aziyat chekdi. Stig Ahlgren unga aktrisa emas, balki aqlli ishbilarmon ayol degan tamg'ani qo'yganida eng qattiqqo'l bo'lgan. "Ingrid bu tovar, erkin bozorda taklif qilinadigan kerakli tovar".[14] O'sha yili ular yana bir harakat qilishdi Jovanna d'Arko al rogo.[83]
Ularning 1955 yildagi so'nggi harakatlari shu edi La Paura (Qo'rquv), avstro-yahudiy yozuvchisi Stefan Tsvaygning 1920 yildagi romani asosida yozilgan Angst zino va shantaj haqida. [83] Yilda Qo'rquv, Bergman eri asos solgan farmatsevtika kompaniyasini boshqaradigan ishbilarmon ayol rolini o'ynaydi (Mathias Wieman ). U sobiq sevgilisi o'girilib, uni shantaj qiladigan odam bilan ish tutmoqda. Ayol pul talab qiladi, agar Bergman uni to'lamasa, ishi haqida eriga aytaman deb qo'rqitmoqda. Doimiy tahdidlar ostida Bergman o'z joniga qasd qilishga majbur bo'ladi.[84]
Rossellinining odatda "neorealist" filmlarida Gollivud yulduzidan foydalanishi, u odatda u professional bo'lmagan aktyorlardan foydalanganligi ma'lum doiralarda ba'zi salbiy reaktsiyalarni keltirib chiqardi.[noaniq ] Rossellini, "tomoshabinlarning umidlarini rad etib [,] ... Bergmanni ish bilan ta'minladi go'yo u professional bo'lmagan, "uni ssenariydan va yulduzga xos odatiy hashamatlardan mahrum qilgan (masalan, yopiq sanitariya-tesisat yoki sartaroshlar) va Bergmanni" ishlayotganda haqiqatdan ilhomlanib "harakat qilishga majbur qilgan, tanqidchi" a psixologik introspektsiyaning yangi kinosi ".[63]:98 Bergman filmni suratga olishdan oldin Rossellinining rejissyorlik uslubidan xabardor edi, chunki avvalroq rejissyor unga "bir necha asosiy g'oyalardan kelib chiqib, ularni asta-sekin ishlab chiqish" asosida ishlashini tushuntirib yozgan edi.[63]:19 Rossellini keyinchalik Gollivuddan olib chiqib ketish bilan muvaffaqiyatli karerasini buzganlikda ayblanmoqda, Bergman esa Rossellini neo-realizmning estetik uslubi va ijtimoiy-siyosiy tashvishlaridan voz kechishiga turtki bo'ldi. [83]
While the movies Bergman made with Rossellini were commercial failures, somehow the films have garnered a great appreciation and attention in the recent times. According to Jordan Cronk in his article reviewing the movies, their work has inspired a beginning of a modern cinematic era. Rossellini's films during the Bergman era ponder issues of complex psychology as depicted by Bergman in films like Stromboli, Europa '51 va Journey to Italy.[85] The influence of Bergman and Rossellini's partnership can be felt in the movies by Godard, Fellini and Antonioni to more recently, Abbas Kiarostami and Nuri Bilge Ceylan.[85] David Kehr from The New York Times commented that their works now stand as one of the pioneering works whose influence can be felt in European modern filmmaking.[86]
1956−1972: Hollywood return
After separating from Rossellini, Bergman starred in Jan Renoir "s Elena and Her Men (Elena et les Hommes, 1956), a romantic comedy in which she played a Polish princess caught up in political intrigue. Bergman and Renoir had been wanting to work together. Yilda Elena and Her Men, in which Renoir written for her, she plays a down-on-her-luck Polish princess, Elena Sorokowska. The film was a hit in Paris when it premiered in September 1956.[87] Candice Russell, commented that Bergman is the best thing in the film.[88] Roger Ebert wrote, "The movie is about something else - about Bergman's rare eroticism, and the way her face seems to have an inner light on film. Was there ever a more sensuous actress in the movies?"[89]
In 1956, Bergman also starred in a French adaptation of stage production of Choy va hamdardlik. It was presented at the Parij teatri, Parij.[90][91] It tells a story of a "boarding school boy" who is thought to be homosexual. Bergman played the wife of the headmaster. She is supportive of the young man, grows closer to him and later has sex with him, as a way to "prove" and support his masculinity. It was a smash hit.[14]
Twentieth Century Fox had bought the rights to Anastasiya bilan Anatole Litvak slated to direct. Buddy Adler, the executive producer wanted Bergman, then a still controversial figure in the States, to return to the American screen after a seven-year absence. Fox agreed to take a chance, making her a box-office risk to play the leading role. Filming was going to be made in England, Paris, and Copenhagen.[92]
Anastasiya (1956) tells the story of a woman who may be the sole surviving member of the Romanov oila. Yul Brynner is the scheming general, who tries to pass her off as the single surviving daughter of the late Tsar Nikolay II. He hopes to use her to collect a hefty inheritance.[93] Anastasiya was an immediate success. Bosley Crowther wrote in the Nyu-York Tayms, "It is a beautifully molded performance, worthy of an Academy Award and particularly gratifying in the light of Miss Bergman's long absence from commendable films."[94]
With her role in Anastasiya, Bergman made a triumphant return to working for a Hollywood studio (albeit in a film produced in Europe) and won the Eng yaxshi aktrisa uchun Oskar mukofoti ikkinchi marta. Cary Grant accepted the award on her behalf. Its director, Anatole Litvak, described her as "one of the greatest actresses in the world":
Ingrid looks better now than she ever did. She's 42, but she looks divine. She is a simple, straightforward human being. Through all her troubles she held to the conviction that she had been true to herself and it made her quite a person. She is happy in her new marriage, her three children by Rossellini are beautiful, and she adores them.[95]
After Anastasia, Bergman starred in Yashirin (1958), a romantic comedy directed by Stenli Donen. She plays a successful London stage actress, Anna Kalman, who falls in love with Philip Adams, a diplomat played by Kari Grant. The film is based on the play 'Kind Sir' written by Norman Krasna. Although unmarried, he tells her that he is married but cannot get a divorce. He does so, in order to remain single. Sesil Parker va Filis Kalvert also co-starred.[96]
Bergman later starred in the 1958 picture The Inn of the Sixth Happiness, based on a true story about Gladys Aylward, who was a Christian missionary in China. Despite many obstacles, she is able to win the hearts of the natives, through patience and sincerity. In the film's climatic scene, she leads a group of orphaned children to safety, to escape from the Japanese invasion. The Nyu-York Tayms wrote, "the justification of her achievements is revealed by no other displays than those of Miss Bergman's mellow beauty, friendly manner and melting charm." The film also co-starred Robert Donat va Curd Jurgens.[97]
Bergman made her first post-scandal public appearance in Hollywood at the 30-chi Oskar mukofotlari in 1959, as presenter of the award for Best Picture, and received a standing ovation when introduced.[98] Bergman made her television debut in an episode of Startime, an anthology show, which presented dramas, musical comedies, and variety shows.[99], The episode presented ''The Turn of the Screw'',[100] an adaptation of the horror novella tomonidan Genri Jeyms va rejissyor Jon Frankenxaymer. She played a governess to two little children, who are haunted by the ghost of their previous caretaker. For this performance, she was awarded the 1960 Emmi for best dramatic performance by an actress.[101] Also in 1960, Bergman was inducted into the Gollivudning Shon-sharaf xiyoboni bilan motion pictures star at 6759 Gollivud bulvari.[102]
In 1961, Bergman's second American television production, Twenty-four Hours in a Woman's Life, was produced by her third husband, Lars Schmidt.[103] Bergman plays a bereaved wife, in love with a younger man she has known for only 24 hours.[104] She later starred in Yana xayr as Paula Tessier, a middle-aged interior decorator who falls in love with Anthony Perkins' character, who is fifteen years her junior. Paula is in relationship with Roger Demarest, a womanizer, played by Yves Montand. Roger loves Paula but reluctant to give up his womanizing ways. When Perkins starts pursuing her, the lonely Paula is suddenly forced to choose between the two men.[105] In his review of the film, Bosley Crowther wrote that Bergman was neither convincing nor interesting in her part as Perkins's lover.[106]
In 1962, Schmidt also co-produced his wife's third venture into American television, Xedda Gabler, made for BBC and CBS. She played the titular character opposite Maykl Redgreyv va Ralf Richardson.[107] David Duprey wrote in his review, "Bergman and Sir Ralph Richardson on screen at the same time is like peanut butter and chocolate spread on warm toast."[108] Later in the year, she took the titular role of Xedda Gabler in Paris's Theatre Montparnasse.[17]
On 23 September 1964, Tashrif premyerasi. Based on Friedrich Dürrenmatt's 1956 play, Der Besuch der alten Dame; eine tragische Komödie, it starred Bergman and Anthony Quinn. With a production budget of $1.5 million, principal photography took place in Capranica, outside of Rome. She plays Karla Zachanassian, the world's richest woman, who returns to her birthplace, seeking revenge.[109]
On 13 May 1965, Entoni Asquit "s The Yellow Rolls-Royce premyerasi.[110] Bergman plays Gerda Millett, a wealthy American widow who meets up with a Yugoslavian partisan, Omar Sharif. For her role, she was reportedly paid $250,000.[14] That same year, although known chiefly as a film star, Bergman appeared in London's West End, working with stage star Maykl Redgreyv yilda Mamlakatda bir oy.[111] She took on the role of Natalia Petrovna, a lovely headstrong woman, bored with her marriage and her life. Ga binoan The Times, "The production would hardly have exerted this special appeal without the presence of Ingrid Bergman."[14]
In 1966, Bergman acted in only one project, an hour-long television version of Jan Kokto 's one-character play, Inson ovozi.[112] It tells a story of a lonely woman in her apartment talking on the phone to her lover who is about to leave her for another woman. The New York Times praised her performance, calling it a tour-de-force. The Times of London echoed the same sentiment, describing it as a great dramatic performance through this harrowing monologue.[37]
In 1967, Bergman was cast in a short episode of Swedish anthology film, Stimulantiya. Her segment which is based on the Guy de Maupassant's The Jewellery reunited her with Gustaf Molander.[113] Keyingisi, Evgeniya O'Nil "s Yana ko'rkam uylar rejissor Xose Kintero, opened on 26 October 1967. Bergman, Kollin Devurst va Artur Xill appeared in the leading roles. The show closed on 2 March 1968 after 142 performances.[114] It was reported that thousand of spectators bought tickets, and travelled across the country, to see Bergman perform.[115][116] Bergman returned as both a presenter and a performer during the 41st Annual Academy Awards in 1969.[117]
Bergman wished to work in American films again, following a long hiatus.[118] U rol o'ynadi Kaktus gullari released in 1969, with Valter Matthau va Goldi Xon. Here, she played a prim spinster,[118] a dental nurse-receptionist who is secretly in love with her boss, the dentist, played by Matthau. Xovard Tompson da yozgan Nyu-York Tayms:
The teaming of Matthau, whose dour, craggy virility now supplants the easy charm of Barri Nelson, and the ultra-feminine Miss Bergman, in a rare comedy venture, was inspirational on somebody's part. The lady is delightful as a (now) 'Swedish iceberg', no longer young, who flowers radiantly while running interference for the boss's romantic bumbling. The two stars mesh perfectly.[119]
On 9 April 1970, Gay Grin "s Bahor yomg'irida sayr qilish had its world premiere.[120] Bergman played Libby, the middle-aged wife of a New York professor (Fritz Uayver ). She accompanies him on his sabbatical in the Tennessee mountains, where he intends to write a book. She meets a local handyman, Will Cade (Entoni Kvinn ), and they form a mutual attraction. The screenplay was based on the romantic novel written by Rachel Maddux. The New York Times in its review wrote, "Striving mightily and looking lovely, Miss Bergman seems merely a petulant woman who falls into the arms of Quinn for novelty, from boredom with her equally bored husband, [Weaver], pecking away on a book in their temporary mountain retreat." [121]
On 18 February 1971, Captain Brassbound's Conversion, a play based on George Bernard Shaw's work, made a debut at London theatre. She took on the role of a woman whose husband has taken up with a woman half her age. Although the play was a commercial success, critics were not very receptive of Bergman's British accent.[14]
She made an appearance in one episode of The Bob Hope Show in 1972.[122] Also that year, U.S. Senator Charlz X. Persi entered an apology into the Kongress yozuvlari for the verbal attack made on Bergman on 14 March 1950 by Edvin C. Jonson. Percy noted that she had been "the victim of bitter attack in this chamber 22 years ago." He expressed regret that the persecution caused Bergman to "leave this country at the height of her career." Bergman said that the remarks had been difficult to forget, and had caused her to avoid the country for nine years.[123] Although she had paid a high price, Bergman had made peace with America, according to her daughter, Isabella Rossellini.[18]
1973−1982: Later years and continued success
On 27 September 1972, Fielder Kuk "s Basil xonim E. Frankvaylerning aralash fayllaridan premyerasi.[124] She plays the titular character, a wealthy recluse who befriends two children who are seeking "treasure" in the Metropolitan San'at muzeyi .[125]
Also that year, Bergman was the president of the jury at the 1973 Kann kinofestivali.[126] Bilan intervyuda The Daytona Beach Sunday News in 1978, she recalled this event because she met with Ingmar Bergman once again. This gave her the opportunity to remind him about the letter she had written, some ten years ago, asking him to cast her in one of his pictures. Knowing that Ingmar would be attending, she made a copy of his long-ago reply, and put it in his pocket. He didn't reply again, for two years.[127]
Next, Bergman returned to London's West End and appeared with Jon Gielgud yilda The Constant Wife,[111] which was a critical success. The theatre was consistently packed. Daily Telegraph found the play "unusually entertaining," while Harold Hobson of Sunday Times was still peeved at Bergman for playing yet another English woman with a "strange accent".[37]
Bergman became one of the few actresses ever to receive three Oscars when she won her third (and first in the category of Eng yaxshi ikkinchi darajali aktrisa ) for her performance in Orient Express-da qotillik (1974). Direktor Sidney Lumet had offered Bergman the important part of Princess Dragomiroff, with which he felt she could win an Oscar. She insisted on playing the much smaller role of Greta Ohlsson, the old Swedish missionary. Lumet discussed Bergman's role:
She had chosen a very small part, and I couldn't persuade her to change her mind. ... Since her part was so small, I decided to film her one big scene, where she talks for almost five minutes, straight, all in one long take. A lot of actresses would have hesitated over that. She loved the idea, and made the most of it. She ran the gamut of emotions. I've never seen anything like it.[8]:246–247
At the 1975 Academy Awards, film director Jan Renoir was to receive a Lifetime Achievement Award for his contribution to the motion picture industry. As he was ill at the time, he asked that Ingrid Bergman accept this award on his behalf. Bergman made a speech of acceptance that praised his films and the "compassion that marked all his works" as well as his teaching of both young filmmakers and audiences.[128] :542–543 Although she had been nominated for the new Best Supporting Actress Award, she considered her role in Orient Express-da qotillik to be quite minor and did not expect to win. When the award was announced, in her surprised and unrehearsed remarks, she remarked to the audience that Valentina Kortese should have won the award for her role [129] [128]yilda Kecha uchun kun, tomonidan Truffaut. Bergman and Cortese spent the rest of the evening in each other's company, and were the subject of many photographs.[128]:542–543 Also in 1975, Bergman attended the AFI tribute to Orson Uells. The audience gave her a standing ovation when she appeared on stage. She joked that she hardly knew Welles and they only invited her because she was working across the street.[130]
In 1976, Bergman was the first person to receive France's newly created Faxriy Sezar, a national film award. [131] U ham paydo bo'ldi Vaqt masalasi, tomonidan Vinsente Minnelli, which premiered on 7 October 1976.[132] Roger Ebert in his review wrote, "A Matter of Time" is a fairly large disappointment as a movie, but as an occasion for reverie, it does very nicely. Once we've finally given up on the plot - a meandering and jumbled business - we're left with the opportunity to contemplate Ingrid Bergman at 60. And to contemplate Ingrid Bergman at any age is, I submit, a passable way to spend one's time."[133]
From 1977 to 1978, Bergman returned to the London's West with Vendi Xiller yilda Waters of the Moon.[111] She played Helen Lancaster, a rich, self-centered woman whose car becomes stuck in a snowdrift. The play became the great new hit of the season.[14]
In 1978, Bergman appeared in Kuzgi sonata (Höstsonaten), by accomplished Swedish filmmaker, Ingmar Bergman (no relation), for which she received her seventh—and final—Academy Award nomination. She did not attend the awards, due to her illness. This was her final cinema performance. The film gave her the opportunity to work with Liv Ullmann, another well-known and respected Scandinavian artist.[134] In the film, Bergman plays a celebrity pianist, Charlotte, who travels to Norway intending to visit her neglected eldest daughter, Eva, played by Ullmann. Eva is married to a clergyman and they care for her sister, Helena, who is severely disabled, paralyzed, and unable to speak clearly. Charlotte has not visited either of her two daughters for seven years. Upon arrival at Eva's home, she is shocked and dismayed to learn that her younger daughter is also in residence, and not still in the institution "home". Very late that night, Eva and Charlotte have an impassioned and painful conversation about their past relationship. Charlotte leaves the next day.[135]:558 The film was shot in Norway.[136]
Bergman was battling cancer at the time of the filming. The final two weeks of the shooting schedule required adjustment, because she required additional surgery.[135]:568–569 Believing that her career was nearing its end, Bergman wanted her swan song to be honourable. She was pleased with the overwhelming critical acclaim for Kuzgi sonata. Stanley Kaufmann ning Yangi respublika wrote, "The astonishment is Bergman's performance. We've all adored her for decades but not many of us have thought her a superb actress. Here, she exalted in the hands of a master."[37] Newsweek wrote, "An expressive force we can't even remember seeing since Hollywood grabbed her."[37] The Times (London) concurred that it was "a tour-de-force, such as the cinema rarely sees."[37] Both Bergman and Ullmann won the New York Film Critic's Award and Italy's Donatello award, for their roles.[137] Bergman later recalled that Ingmar had possibly given her the best role of her career, that she would never make another movie again. "I don't want to go down and play little parts. This should be the end."[127]
In 1979, Bergman hosted the AFI's Life Achievement Award Ceremony for Alfred Xitkok.[138] At the program's finale, she presented him with the wine cellar key that was crucial to the plot of Mashhur. "Cary Grant kept this for 10 years, then he gave it to me, and I kept it for 20 years for good luck and now I give it to you with my prayers," before adding "God bless you, Hitch."[139] Bergman was the guest of honour in the Variety's Club All Star Salute program in December 1979. The show was hosted by Jimmy Stewart and was attended by Cary Grant, Frank Sinatra, Goldie Hawn, Helen Hayes, Paul Henreid and many of her former co-stars. She was honored with the Illis kvorumi, the medal given to artists of significance by the King of Sweden.[140]
In the late 70s, Bergman appeared on several talk shows, and was interviewed by Merv Griffin, David Frost, Michael Parkinson, Mike Douglas, John Russell and Dick Cavett, discussing her life and career.[141]
In 1980, Bergman's autobiography, Ingrid Bergman: My Story, was written with the help of Alan Burgess. In it, she discusses her childhood, her early career, her life during her time in Hollywood, the Rossellini scandal, and subsequent events. The book was written after her children warned her that she would only be known through rumors and interviews if she did not tell her own story.[iqtibos kerak ] In 1982, she was awarded the David di Donatello's Golden Medal of the Minister of Tourism, given by The Academy of Italian Cinema.[142]
Finally that year, Bergman played the starring role in a television mini-series, A Woman Called Golda (1982), about the late Israeli Bosh Vazir Golda Meyr. It was to be her final acting role and she was honored posthumously with a second Emmi mukofoti eng yaxshi aktrisa uchun. Bergman was surprised to be offered the role, but the producer explained, "People believe you and trust you, and this is what I want, because Golda Meir had the trust of the people." Her daughter Isabella added, "Now, bu was interesting to Mother." She was also persuaded that Golda was a "grand-scale person", one that people would assume was much taller than she actually was. Chandler notes that the role "also had a special significance for her, as during World War II, Ingrid felt guilty because she had so misjudged the situation in Germany".[8]:293
According to Chandler, "Ingrid's rapidly deteriorating health was a more serious problem. Insurance for Bergman was impossible. Not only did she have cancer, but it was spreading, and if anyone had known how bad it was, no one would have gone on with the project." After viewing the series on TV, Isabella commented:
She never showed herself like that in life. In life, Mum showed courage. She was always a little vulnerable, courageous, but vulnerable. Mother had a sort of presence, like Golda, I was surprised to see it ... When I saw her performance, I saw a mother that I'd never seen before—this woman with balls.[8]:290
Her daughter said that Bergman identified with Golda Meir, because she, too had felt guilty. Bergman tried to strike a balance between home and work responsibilities and deal with "the inability to be in two places at one time". Bergman's arm was terribly swollen from her cancer surgery. She was often ill during the filming, recovering from the mastectomy and the removal of lymph nodes. It was important to her, as an actress, to make a certain gesture of Meir's, which required her to raise both arms, but she was unable to properly raise one arm. During the night, her arm was propped up, in an uncomfortable position, so that the fluid would drain, and enable to perform her character's important gesture. [8]:295
Despite her health problems, she rarely complained or let others see the difficulties she endured. Four months after the filming was completed, she died, on her 67th birthday. After her death, her daughter Pia accepted her Emmy.[8]:296
Shaxsiy hayot
Nikoh va bolalar
On 10 July 1937, at the age of 21, in Stöde,[10] Bergman married a dentist, Petter Aron Lindström (1 March 1907 – 24 May 2000), who later became a neurosurgeon. The couple had one child, a daughter, Friedel Pia Lindström (born 20 September 1938). After returning to the United States in 1940, she acted on Broadway before continuing to do films in Hollywood. The following year, her husband arrived from Sweden with Pia. Lindström stayed in Rochester, Nyu-York, where he studied medicine and surgery at the Rochester universiteti. Bergman traveled to New York and stayed at their small rented stucco house between films, her visits lasting from a few days to four months. Maqolasida Hayot, the "doctor regards himself as the undisputed head of the family, an idea that Ingrid accepts cheerfully". He insisted she draw the line between her film and personal life, as he has a "professional dislike for being associated with the tinseled glamor of Hollywood". Lindström later moved to San Francisco, California, where he completed his internship at a private hospital, and they continued to spend time together when she could travel between filming.[15] Petter did not view Bergman as the rest of the world did. He thought she was too absorbed with her popularity and image, and was full of vanity. According to Bergman biographer, Donald Spoto, Petter managed her career and financial matters. He was very frugal with money.[143] Petter had been aware of his wife's affairs. When asked by the biographer why he didn't ask for a divorce, he replied bluntly, "I lived with that because of her income".[143] In 1945, she and Lindström, became United States citizens.[10] On 27 August, two days before her 30th birthday, as Ingrid Lindstrom, she and her husband both filed "Declaration of Intention " forms with the United States District Court, Southern District of California,[144] in order to become US citizens.
Bergman returned to Europe after the scandalous publicity surrounding her affair with Italian director Roberto Rossellini filmini suratga olish paytida Stromboli in 1950. She begged Petter for a divorce and contact with Pia. She had asked him before but he refused.[145] In the same month the film was released, she gave birth to a boy, Renato Roberto Ranaldo Giusto Giuseppe ("Robin") Rossellini (born 2 February 1950).[63]:18 A week after her son was born, according to the Mexican law, she divorced Lindström and married Rossellini by proxy.[145] On 18 June 1952, she gave birth to the twin daughters Isotta Ingrid Rossellini and Izabella Rossellini. Isabella became an actress and model, and Isotta Ingrid became a professor of Italiya adabiyoti.[146] It was not until 1957 that Bergman was reunited with Pia, in Rome. Petter, however, remained bitter towards Bergman.[145]
During the scandal, Bergman received letters in support from Cary Grant, Helen Heyes, Ernest Hemingway, Jon Steynbek and other celebrities.[14] Rossellini's cousin, Renzo Avanzo, was worried that Bergman would deflect Rossellini from making pictures he should be making.[14] Rossellini didn't like her friends for fear of them trying to lure her back to Hollywood. He was possessive and would not allow Bergman to work for anyone else.[147] In 1957, Rossellini had an affair with Sonali Das Gupta while filming in India. Bergman met with the Prime Minister of India, Pandit Neru in London to get permission for Rossellini to leave India.[148] They separated in 1956, and their marriage was annulled the following year.[147] Rossellini then married Sonali Das Gupta in 1957.[149]
0n 21 December 1958, Bergman married Lars Schmidt, a theatrical entrepreneur from a wealthy Swedish shipping family. She met Schmidt through her publicist, Kay Brown. They spent summers together in Danholmen, Lars's private island off the coast of Sweden. The couple and their children stayed at Choisel, not too far from Paris. With Bergman constantly off to filming, Lars was all over Europe, producing plays and television shows. Their work schedules put a strain on their marriage. While vacationing with Schmidt in Monte Gordo beach (Algarve region, Portugal) in 1963, right after recording the TV movie Xedda Gabler, she got ticketed for wearing a bikini that showed too much according to the modesty standards of conservative Portugal.[150] After almost two decades of marriage, the couple divorced in 1975. Nonetheless, he was by her side when she died in 1982.[151]
In October 1978, Bergman gave an interview, regarding what was to be her last film role. Kuzgi sonata explored the relationship between a mother and daughter. She played a classical concert pianist, who valued her career more than motherhood, and caring for her two daughters. Bergman said that this role reminded her of the times when she had to "leave" her own daughters. She stated that "A lot of it is what I have lived through, leaving my children, having a career." She recalled instances in her own life, "when she had to pry her children's arms from around her neck, 'and then go away' to advance her career."[127] Before her death in 1982, Bergman made a few alterations in her will. The bulk of her estate was divided among her four children. She left some provisions for Rossellini's niece, Fiorella, her maid in Rome, and her agent's daughter, Kate Brown.[152]
Aloqalar
Bergman had affairs with her directors and co-stars in the 1940s. Spencer Tracy and Bergman briefly dated during the filming of Doktor Jekil va janob Xayd.[153] She later had an affair with Gary Cooper while shooting For Whom The Bell Tolls. Cooper famously said, "No one loved me more than Ingrid Bergman, but the day after filming concluded, I couldn't even get her on the phone."[143] Jeanine Basinger, when reviewing 'Victor Fleming: An American Movie Master' by Michael Sragow writes, "Fleming fell deeply in love with the irresistible Swede and never really got over it". While directing his final film Joan of Arc, he was completely enthralled with Bergman.[154] She had a brief affair with musician Larry Adler when she was travelling across Europe entertaining the troops in 1945.[143][155] In Anthony Quinn's autobiography, he mentions his sexual relationship with Bergman, among his many other affairs.[156] Xovard Xyuz was also quite taken by Bergman. They met through Cary Grant and Irene Selznick. He phoned one day to inform her that he had just bought RKO as a present for her.[157]
During her marriage to Lindström, Bergman had affairs with the photographer Robert Kapa and the actor Gregori Pek.It was through Bergman's autobiography that her affair with Capa became known.[158]p. 176 In June 1945, Bergman was passing through Paris, on her way to Berlin to entertain American soldiers. In response to a dinner invitation she met Capa and novelist Irvin Shou. By her account, they had a wonderful evening. The next day, she departed for Berlin. Two months later, Capa was in Berlin, photographing ruins, and they met again. Distressed over her marriage to Lindström, she fell in love with Capa, and wished to leave her husband. During their months together in Berlin, Capa made enough money to follow Bergman back to Hollywood. Garchi Hayot magazine assigned him to cover Bergman, he was unhappy with the "frivolity" of Hollywood.[159]
Bergman's brief affair with Spellbound co-star Gregory Peck[160] was kept private until Peck confessed it to Brad Darrach of Odamlar in an interview five years after Bergman's death. Peck said, "All I can say is that I had a real love for her (Bergman), and I think that's where I ought to stop ... I was young. She was young. We were involved for weeks in close and intense work."[161][162][163]
Bergman was a Lyuteran,[164] once saying of herself, "I'm tall, Swedish, and Lutheran".[165]
Later, her daughter Izabella Rossellini said: "She showed that women are independent, that women want to tell their own story, want to take initiative but sometimes they can't because sometimes our social culture doesn't allow women to break away from certain rules".[18]
After the making of Intermezzo: A Love Story (1939), producer Devid O. Selznik he and his wife Irene remained friends with Bergman throughout her career.[30]:76 Bergman also formed a lifelong friendship with her Mashhur co-star, Cary Grant. They met briefly in 1938 at a party thrown by David O. Selznick.[166] Mashhur was the start of a friendship between Bergman and Grant. Scot Eyman in his book, Cary Grant: A Brilliant Disguise wrote, "Grant found that he liked Ingrid Bergman a great deal,” Mr. Eyman notes. “She was beautiful, but lots of actresses are beautiful. What made Bergman special was her indifference to her looks, her clothes, to everything except her art.”[167] Bergman and Hitchcock also formed a sustained friendship out of mutual admiration.[168]
Kasallik va o'lim
During the run of The Constant Wife in London, Bergman discovered a small hard lump on the underside of her left breast. On 15 June 1974, she entered a London clinic and had her first operation. Ishlayotganda Kuzgi sonata, Bergman discovered another lump, and flew back to London for another surgery.[135]:568–569Afterwards, she began rehearsals for Waters of the Moon (1978).[169]
Despite her illness, she agreed to play Golda Meir in 1981. As soon as the film finished, Bergman retired to her apartment in Cheyne Gardens, London. She suffered greatly from chemotherapy. Photographers had camped outside on the pavement of her London apartment. Because of their telephoto lenses, she refrained from approaching the front window. At this point, the cancer had spread to her spine, collapsing her twelfth vertebra. Her right lung no longer functioned, and only a small part of her left lung had not collapsed.[14]
On 29 August 1982 at 12:00 am, her 67th birthday, Ingrid Bergman died in London, from ko'krak bezi saratoni. Her ex-husband, Lars Schmidt and three others were there, where they drank their last toast to her hours earlier. Nusxasi Kichkina shahzoda found at her bedside, opened to a page near the end.[152] The memorial service was held in Saint Martin-in-the-Fields church in October with twelve hundred mourners in attendance. Her children were in attendance, in addition to the Rossellinis, relatives from Sweden, Liv Ullmann, John Gielgud, Wendy Hiller, Birgit Nilsson and Joss Ackland and many others. As part of the service, quotations from Shekspir were read. Musical selections included 'This Old Man' dan The Inn of the Sixth Happiness, a Beethoven song, and strains of Vaqt o'tishi bilan.[14]
Ingrid Bergman was cremated at a private funeral ceremony attended only by close relatives and five friends.[170] After cremation at Kensal Green qabristoni, London, her ashes taken to Sweden. Most were scattered into the sea, around the islet of Dannholmen near the fishing village of Fjällbacka yilda Bohuslen.The location is on the west coast of Sweden, a place where she had spent most of the summers from 1958 until her death. The remainder of her ashes, were placed next to her parents' ashes in Norra Begravningsplatsen (Northern Cemetery), Stokgolm, Shvetsiya.[4]
Acting style, public image and screen persona
Bergman was often associated with vulnerable yet strong characters who were in love but were also troubled by anxiety and fear.[27] As preparation for Gaslight she went to a mental hospital and observed a particular patient.[172] Uchun A Woman Called Golda, she reviewed tapes, to master Meir's mannerisms.[14] Yilda Kuzgi sonata, she moves across the screen like a caged animal but always keeps a ladylike composure that makes her words even more 'silent but deathly'.[173] Bergman could be rigid and stubborn in her acting approach. Ingmar Bergman stated that they argued frequently, on set. "She went to a limit and objected to go beyond the limit."[14] Jan Göransson of the Swedish Film Institute described Bergman as stubborn and loved to question her directors, whose innovative ideas to acting eventually won her over.[174]
Bergman's ability to instantly change emotions was one of her greatest talents. Dr Funing Tang from the Mayami universiteti asserted, "even a moment of reticence, a little glance, or even an eye movement can alter the film's direction and provide her film and character with suspense, ambiguity and mysteriousness, which are rooted in her singular characteristics."[175] Roger Ebert echoed the same observation when he cited that Bergman has her way of looking into a man's face. He added, "She doesn't simply gaze at his eyes, as so many actresses do, their thoughts on the next line of dialogue. She peers into the eyes, searching for meaning and clues, and when she is in a close two-shot with an actor, watch the way her own eyes reflect the most minute changes in his expression."[89] For writer Susan Kerr, Bergman might have the greatest downcast eyes in history. "She got her greatest effects in Kasablanka va Gaslight va Spellbound va Mashhur by swooping her eyes down to the floor and darting them back and forth, as if watching a mouse scurry across the room", Kerr wrote.[176]
—Ingmar Bergman on Ingrid Bergman[37]
According to 'Stardom and the Aesthetics of Neorealism: Ingrid Bergman in Rossellini's Italy', Alfred Hitchcock is responsible of transforming the Bergman's screen persona towards a 'less is more'. He coaxed her to be more understated and neutral, while his camera concentrated the expression in the micro-movement of her face. Much of his work with her involved efforts to quell her expressiveness, gestures and body movements. Susan White, one of the contributing authors in 'A Companion to Alfred Hitchcock', argued that while Bergman was one of his favorite collaborators, she is not the quintessential Hitchcock blonde. She is more like 'a resistant and defiant blonde', in contrast to Grace Kelly type, which is more malleable and conformative.[177] For Bergman, the face became a central aspect to her persona.[178] In many of her films, her body is covered up in what are often elaborate costumes; nun's habits, doctor's coats, soldier's armors, and Victorian dresses.[179] Ning texnikasi chiaroscuro, had been used in many of Bergman's films to capture the ambience and the emotional turmoils of her characters through her face.[180] Bo'lgan holatda Kasablanka, shadows and lighting were used to make her face look thinner.[181] Peter Byrnes of Sidney Morning Herald deb yozgan Kasablanka "dunyodagi eng yaxshi film" bo'lishi mumkin, unda u "dastlabki o'rnatilgandan so'ng, ular shunchaki kelishda davom etadilar, hayratlanarli darajada hayajonli tasvirlar uchun o'lish kerak". Byrnesning ta'kidlashicha, bu yaqin tasvirlar Bergman va tomoshabinlar o'rtasidagi jozibali jarayonning boshlanishi. U shunday deb qo'shib qo'ydi: "U shunchalik chiroyli va shu qadar chiroyli yoritilganki, tomoshabinlar o'zlarining pullari allaqachon o'zlariga yarashganligini his qilishadi".[182] Bergmanning qizi Pia Lindstrom onasi nihoyat yoshligidan va yorqin jismoniy go'zalligidan xalos bo'lganidan so'ng, onasi o'zining keyingi filmlarida eng yaxshi aktyorlik rolini berganini his qildi.[183]
Taniqli kino muallifi Den Kallaxan ko'pburchak bo'lgan Bergmanning ovozi va uning satrlarini o'qish uslubi qanday ta'sir qilganini tomosha qilishda shubha elementi borligini ta'kidladi. U Bergman frantsuz va nemis tillarida gaplashayotganda, xuddi ijodiy kuchdan mahrum bo'lganidek, unchalik ta'sirchan emasligini yozgan.[184] Vulture Angelica Jade Bastien Bergmanning maxfiy quroli uning ovozi va talaffuzi degan fikrni takrorladi. [185]
Skandalgacha bo'lgan kariyerasining aksariyat qismida u "yiqilgan ayol" rolini o'ynadi. Bergman nikohdan tashqari ishlarda ayollarni tasvirlaydi Intermezzo va Kasablanka, fohishalar Tantana kamari va Doktor Jekil va janob Xayd, va yomon odam Saratoga magistrali. Shunga qaramay, jamoat Bergmanning ekrandan tashqaridagi personaji u o'ynagan avliyo qahramonlarga o'xshaydi deb o'ylardi. Joan of Arc va Aziz Maryam qo'ng'iroqlari. Garchi "yiqilgan ayol" rollarining ustunligi Bergmanning avliyo maqomini qondirmasa ham, Rossellini bilan bo'lgan ish jamoatchilikda xiyonat tuyg'usini keltirib chiqardi. [186] Devid O. Selznik keyinchalik guvohlik berdi: "Men uning Avliyo Ingrid obraziga javobgar ekanligimdan qo'rqaman. Biz uni ataylab oddiy, sog'lom, asabiy bo'lmagan martaba ayol, janjallardan xoli va uyi past hayot tarzida qurdik. "O'ylaymanki, bu keyinroq o'z samarasini berdi".[187]
Charlz River Redaktorlari Bergmanni birinchi xalqaro kino yulduzi deb atashdi. U o'zining xalqaro karerasini o'z kitobida, Bergmanning turli mamlakatlarda ishlab chiqarilgan turli tillarda harakat qilishni istagan noyob yulduz bo'lganligi haqida tasvirlaydi. Biroq, u Bergmanning Evropadagi rasmlari e'tiborsiz qoldirilganligini va uning ancha mashhur Gollivud filmlari foydasiga pasayib ketganini tan oldi va shu bilan ko'pchilik uning filmografiyasini to'liq anglashiga to'sqinlik qildi. Natijada, Bergman, bugungi kunda xalqaro aktrisa emas, balki Gollivud yulduzi sifatida tan olingan. Amerika madaniyatida Bergman keyinchalik Gollivudning sevimlisiga aylangan Kasablanka qahramoni bo'lib, shu bilan o'z karerasining bir xil muhim bosqichini kamaytirdi.[188]
Meros
Bergmanning vafoti haqidagi xabar AQSh va Evropaning asosiy ommaviy axborot vositalari tomonidan keng tarqalgan. Ikkalasi ham Los Anjeles Tayms[189] va The New York Post bosilgan oldingi sahifadagi bildirishnomalar. The Nyu-York Post e'lon qizil qizil rangda edi. [190] The New York Times "Ingrid Bergman," uchta Oskar "sovrindori vafot etdi."[191] Washington Post uni "begunoh, ammo provokatsion go'zalligi uni sahna va ekranning buyuk yulduzlaridan biriga aylantirgan aktrisa" deb nomlangan maqolasida o'z hurmatini to'lagan.[192]
Bergmanning o'limi haqida ko'pchilik, ayniqsa uning hamkasblari motam tutdi. Ular uning matonatini, ruhini va iliqligini maqtashdi. Jozef Kotten uni ajoyib do'st va ajoyib aktrisa deb bilgan. Pol Henreyd shunday deb izohladi: "U yoshligida juda dahshatli go'zal edi. U juda katta istak va hissiyotlarga ega kuchli ayol edi va u rang-barang hayot kechirdi". Liv Ullmann uni motam tutishini aytdi, chunki "U meni ayol ekanligimdan juda g'ururlantirdi", deya qo'shimcha qildi u. Leonard Nimoy uning qat'iyati va jasoratini maqtadi. "Men unga inson sifatida va iste'dod sifatida ulkan hurmatni oshirdim. U ajoyib xonim va aktrisa edi". [193]
Sakkiz yil davomida saraton kasalligiga chalinganiga qaramay, Bergman kariyerasini davom ettirdi va so'nggi rollari uchun xalqaro sharaflarga sazovor bo'ldi. "Uning ruhi ajoyib inoyat va jasorat bilan g'alaba qozondi", deya qo'shimcha qildi biograf Donald Spoto.[67] Direktor Jorj Kukor bir marta uning filmga qo'shgan hissasini sarhisob qilganida, u unga shunday degan edi: "Ingrid, azizim, men seni nimadan ko'proq sevishimni bilasanmi? Men buni tabiiyliging deb xulosa qila olaman. Kamera sizning go'zalligingizni, aktyorligingizni va Sizning individualligingiz. Yulduzning o'ziga xos xususiyati bo'lishi kerak. U sizni ajoyib yulduzga aylantiradi. "[8]:11
Gollivuddagi birinchi yillari haqida yozish, Hayot "Barcha Bergman avtoulovlari baraka topadi" va "ularning hammasi tez va quvnoq, etakchi xonimning fe'l-atvorisiz ketishadi".[15] U o'zining dastlabki karerasini boshqarganidan "to'liq mamnun" edi Devid O. Selznik, har doim unga o'ynash uchun ajoyib dramatik rollarni topgan va maoshidan bir xil darajada mamnun bo'lgan, bir marta: "Men aktrisaman va men pul ishlashga emas, aktyorlikka qiziqaman". Hayot "u Amerika ekranidagi har qanday aktrisadan ko'ra ko'proq qirrali xususiyatga ega ... Uning rollari bir nechta aktrisalar ko'tarilishi mumkin bo'lgan xarakteristikaning moslashuvchanligi va sezgirligini talab qildi".[15]
Biograf Donald Spoto "tortishuvlar tarixidagi eng xalqaro yulduz" deb aytish mumkin. Filmdagi Amerika filmidagi debyutidan so'ng Intermezzo: Sevgi tarixi (1939), Gollivud uni noyob tabiiy aktrisa va makiyajga ehtiyoj sezmaydigan aktrisa sifatida ko'rdi. Film tanqidchisi Jeyms Eji u "nafaqat tasavvurga ega bo'lgan odamga hayratlanarli o'xshashlik qiladi; u haqiqatan ham jimgina realizm bilan she'riy inoyat aralashgan holda qanday harakat qilishni bilishini" yozgan.[4]
Kino tarixchisi Devid Tomson, u "har doim" haqiqiy "ayol bo'lishga intilganini" aytdi va ko'plab film muxlislari u bilan tanishishdi:
1940 yillarning boshlari va o'rtalarida Bergman Amerikada deyarli hech qachon teng bo'lmagan sevgi turiga buyruq bergan payt bo'lgan. O'z navbatida, u o'zini avliyo o'rniga g'ayratli va ambitsiyali aktrisa kabi tutganda "janjal" ni jonlantirgan aynan shu mehrning kuchi edi.[30]:76
Uning qizi Izabella Rossellinining so'zlariga ko'ra, onasi erkinlik va mustaqillikni chuqur his qilgan. Keyin u shunday dedi: "U juda ko'p madaniyatlarni birlashtira oldi ... u hatto amerikalik emas, lekin u shved, italyan, frantsuz va evropalik filmlarning bir qismi bo'lgani kabi u ham Amerika madaniyatining bir qismidir".[18]
Ueslian universiteti, Bergmanning shaxsiy hujjatlari, ssenariylari, mukofotlari, portretlari, fotosuratlari, albom kitoblari, kostyumlari, yuridik hujjatlari, moliyaviy yozuvlari, kadrlar, suratlari va esdaliklaridan iborat "Ingrid Bergman to'plami" ni joylashtiradi.[194]
Faollik
Matbuot anjumani paytida Vashington, Kolumbiya spektaklni targ'ib qilish uchun Loraniyalik Joan, deya u gazetalarga norozilik bildirdi irqiy ajratish uni o'zi ishlagan teatrda bo'lgan Lisner Auditorium-da birinchi marta ko'rgandan keyin. Bu muhim reklama va ba'zi nafrat xatlariga olib keldi. Uning noroziligini e'tirof etish va makonning ajratilgan o'tmishini eslatish maqsadida Lissner auditoriyasidan tashqarida Bergmanning byusti o'rnatilgan.[195]
Bergman bordi Alyaska Ikkinchi Jahon urushi paytida ko'ngil ochish AQSh armiyasi qo'shinlar. Urush tugaganidan ko'p o'tmay, u xuddi shu maqsadda Evropaga bordi va u erda urush oqibatida vayronagarchiliklarni ko'rishga muvaffaq bo'ldi.[196] U 1945 yil 6-iyun kuni Parijga keldi Jek Benni, Larri Adler va Marta Tilton ular Ritz mehmonxonasida qolishdi. Bergmanning ishlashi ancha cheklangan edi; u qo'shiq aytolmadi, asbobda o'ynay olmadi, Jek Benni haziliga ega emas edi. Kasselda u sahnadan ko'z yoshlari bilan yugurdi.[14] Ular kontsentratsion lagerga borganlarida, u orqada qoldi.[37] Ikkinchi Jahon urushi boshlangandan so'ng, Bergman Germaniya davlatini ishdan bo'shatganligi uchun o'zini aybdor his qildi. Uning biografisi Sharlotta Chandlerning so'zlariga ko'ra, u dastlab buni ko'rib chiqqan Natsistlar faqat "vaqtinchalik aberatsiya," jiddiy qabul qilinmasligi uchun juda aqlsiz ". U Germaniya urush boshlamasligiga ishongan." Bergman "u erdagi yaxshi odamlar bunga yo'l qo'ymasligini" his qildi. Chandler "butun umr o'zini aybdor his qilar edi, chunki urush oxirida Germaniyada bo'lganida, u boshqalar bilan shafqatsizlikka guvoh bo'lish uchun borishdan qo'rqardi", deb qo'shimcha qiladi. Natsistlarni yo'q qilish lagerlari ".[8]:293–295
Yuz yillik bayram
2015 yilda Bergmanning yuz yilligini nishonlash uchun turli muassasalar tomonidan ko'rgazmalar, film namoyishlari, kitoblar, hujjatli filmlar va seminarlar namoyish etildi. Zamonaviy san'at muzeyi (MOMA) o'z farzandlari tanlagan va tanishtirgan filmlarining namoyishini o'tkazdi.[197] AFI Kumush teatri va madaniyat markazi o'zining Gollivud va Italiya filmlarining keng retrospektivasini taqdim etdi.[198] Kaliforniya universiteti, Berklida jurnalist va kino tanqidchisi Ulrika Knutson Bergmanni "kashshof feminist" deb atagan ma'ruza qildi.[199] Toronto xalqaro kinofestivali bilan davom etdi 'Mashhur: Ingrid Bergmanning yuz yilligini nishonlash ' unda uning eng taniqli filmlari turkumi namoyish etildi.[200] "Ingrid Bergman BAM-da" ekranlashtirildi Bruklin musiqa akademiyasi Atirgul kinoteatrlari.[201] BAMcinématek taqdim etdi "Ingrid Bergman Tribute" 2015 yil 12 sentyabrda Isabella Rossellini va Jeremy Irons, unda Rossellini va Irons tomonidan Bergmanning shaxsiy maktublaridan olingan jonli o'qish namoyish etildi.[202] Nyu-Yorkning Patchog shahridagi Plaza Cinema & Media Art Center Bergman filmlarining maxsus namoyishini o'tkazdi.[203] Ko'rgazmalar va o'lponlar boshqa shaharlarda sodir bo'lgan; London, Parij, Madrid, Rim, Tokio va Melburn. Gyoteborg shimolidagi Uddevalla shahridagi Bohuslan muzeyi "Ingrid Bergman in Fjällbacka" nomli ko'rgazmani ochdi.[204] Tasvirli kitob Ingrid Bergman: Suratlardagi hayot Bergman mulk tomonidan nashr etilgan.[205]
Uning yuz yilligini nishonlash uchun film suratga olindi.[206] Ingrid Bergman: O'z so'zlari bilan, 2015 yil shved hujjatli film, rejissor Stig Byorkman. Kann klassiklari bo'limida namoyish etildi 2015 yil Kann kinofestivali[207] qaerda u alohida eslatmani oldi L'il d'or.[208][209][210] Bergmanning fotosurati Devid Seymur Kannning asosiy plakati sifatida namoyish etilgan. [207] Festival Bergmanni "zamonaviy ikonka, ozod qilingan ayol, jasur aktrisa va yangi realizm uchun taniqli shaxs" deb ta'rifladi.[211] Nyu-York kinofestivali va Tokio xalqaro kinofestivali shuningdek, hujjatli filmni taqdim etdi.[212][213]
2015 yilda Vankuver xalqaro kinofestivali, film tomoshabinlarning ovoz berishlari asosida "Eng mashhur xalqaro hujjatli film" sifatida tanlandi.[214][215] Film "shaxsiy hayotida ko'rsatgan mustaqilligi va jasoratini yoritish imkoniyatini yo'qotmaydi". Garchi tomoshabin "Bergmanning erkin g'ildirakli, nomuvofiq onalik turmush tarziga" hukm chiqarishi mumkin bo'lsa-da, uning qat'iyati va kasbiy sadoqati haqida shubha bo'lishi mumkin emas. 1978 yilda "Kuz Sonatasi" dagi so'nggi ekran chiqishi bilan yakunlanib, "Byorkman o'zining zamonaviy zamonaviyligi o'z vaqtidan ancha oldinda bo'lgan noyob kuchli, mustaqil ayol obrazini qoldiradi".[216]
Shuningdek, 2015 yilda AQSh pochta xizmati va Posten AB Shvetsiyaning Bergman sharafiga birgalikda 1940 yil bo'yalgan tasvirlangan esdalik markalarini chiqargan.[217]
Biografik sahna asarlari
Bergman qizi tomonidan tasvirlangan, Izabella Rossellini yildaOtam 100 yoshda (2005).[218] 2015 yilda "Mashhur', Hitchcock-ga asoslangan spektaklMashhur Gyoteborg operasida sahnalashtirilgan.[219] Bergmanning italiyalik davri sahnada ushbu musiqiy asarda sahnalashtirilgan,Kamera; Ingrid Bergman haqida musiqiy asar. Uni Yan-Erik Säaf va Staffan Aspegren yozgan va Shvetsiyaning Stokgolm shahrida ijro etgan.[220]
Ommaviy madaniyatda
Vudi Gutri 1950 yilda Bergman haqida qo'shiq bo'lgan "Ingrid Bergman" ni yaratgan. Matn so'zlari "erotik" deb ta'riflangan va Bergman bilan munosabatlariga ishora qiladi. Roberto Rossellini filmda ishlash paytida boshlangan Stromboli. Ushbu qo'shiqni Gutri hech qachon yozib olmagan, ammo uni musiqaga qo'shib yozgan Billi Bragg albomda Mermaid xiyoboni Vudi Gutri arxivida minglab boshqa qo'shiqlar bilan topilgandan so'ng.[221]
Alfred Xitkok o'zining filmiga asos solgan Orqa oyna (1954) (bosh rollarda Jeyms Styuart kabi Hayot urush davri fotografi) Bergman va Kapa romantikasida.[159]
1984 yilda gibrid choy atirgul zoti yulduz sharafiga 'Ingrid Bergman' deb nomlandi.[222]
Uning Ilsa Lund obrazini Kasablanka tomonidan parodiya qilingan Keyt Makkinnon ning bitta epizodida Saturday Night Live.[223] 72-chi Oskar mukofotlarining ochilish montajida, Billi Kristal Viktor Laszlo parodiya qilgani kabi Kasablankaniki yakuniy sahna.[224] 80-yillarda Warner Bros "Sabzi blankaBogart va Bergmanning xarakteriga hurmat sifatida Kasablanka. Yilda Garri Sally bilan uchrashganda (1989), Kasablanka takrorlanadigan mavzu bo'lib, bosh qahramonlar film davomida uning tugashining ma'nosi haqida bahslashmoqdalar.[225] Bogart va Bergman Teskoning Clubcard reklamasida ham paydo bo'ldi (2019).[226] Nyu-York meri tomonidan ochiq ko'chalar dasturi doirasida aholi va ko'ngillilar V 103-ko'chadagi blokda ikkita to'xtash joyini burishdi. Broadway va West End xiyoboni Bogart va Bergman ishtirokidagi devorga Kasablanka (2020).[227]
Dan bir sahnada O'lik erkaklar plash kiymaydi (1981), ba'zi ijodiy tahrir bilan, Stiv Martinning personaji Alisiya Xuberman bilan suhbatlashmoqda Mashhur. Filmning bitta sahnasida Leyk uyi (2006), Sandra Bullockning xarakteri o'pish sahnasini tomosha qilayotgani ko'rinib turibdi Mashhur.[228] Bergman va Spenser Treysi o'rtasidagi o'pish sahnasi Doktor Jekil va janob Xayd ichida ko'rsatilgan Paradiso kinoteatri (1989) yakuniy montaj. Bergmanning singlisi Benediktga murojaat qilingan Cho'qintirgan ota (1972).[229] Ikkinchi mavsumda bitta epizod mavjud Molli Doddning kunlari va kechalari "deb nomlanganMana ozgina ma'lum bo'lgan Ingrid Bergman voqeasi'.[230]
Bergmanning "Ilsa" filmi ham "Ilsa Faust" rolini ijro etgan Rebekka Fergyuson yilda Missiya imkonsiz filmlar seriyasi.[231] Unga Tom Kruz va rejissyor McQuarrie ko'rib chiqishni buyurdilar Mashhur, Kasablanka shuningdek, Bergmanning bir nechta filmlari uning roliga tayyorgarlik sifatida.[232] Tom Kruz paydo bo'lganida Jimmi Fallon ishtirokidagi Tonight Show filmni targ'ib qilish uchun u Ingrid Bergman haqida bir necha bor eslatib o'tgan.[233] Keyinchalik ular shu qatorda Ingrid Bergman nomi bilan telbalarcha eskizni ijro etishdi.
Filmda La La Land (2016), etakchi ayol belgi yotoqxonasining devorida Bergmanning plakatiga ega. Filmning oxiriga yaqin yo'l chetida Bergmanning yana bir afishasini ko'rish mumkin.[234] Filmning asl saundtreklaridan biri "Bogart va Bergman" deb nomlangan.[235]
Bergmanning reklama fotosurati Mashhur Dan Callahan tomonidan kitobning muqovasi sifatida ishlatilgan, Kamera yolg'on; Hitchcock uchun harakat qilish (2020).[236] Tomonidan kitobda Nora Roberts, Kollektsioner, Ingrid Bergman eslatib o'tilgan (2014).[237] Bergmanning Robert Kapa bilan bo'lgan muhabbat munosabati Kris Grinhalg'ning romanida tasvirlangan, Ingrid Bergmanni aldash (2012).[238] U, shuningdek, Donald Trumpning 2004 yilgi kitobida, Qanday qilib boyish mumkin?.[239] Bergman 'daKichik qovurdoq ', qizi Liza Brennan-Jobsning xotirasi Stiv Jobs.[240]
Italiya kinematografiyasining ayol ikonalariga bag'ishlanishining bir qismi sifatida Bergman Rim yaqinidagi Via Fiamignano yaqinidagi jamoat zinapoyasida devoriy rasmda abadiylashtirildi.[241] Uning rasmining devoriy surati Kasablanka Sietldagi Fremont shahridagi ochiq kinoteatr devoriga bo'yalgan.[242] Gollandiyaning Milliy aviakompaniyasi o'z samolyotlaridan biriga 2010 yilda "Ingrid Bergman" deb nom bergan.[243] U xonim Tasso's (Hollywood), Kaliforniya shtatida namoyish etilgan mumi tasviriga ega.[244] Shvetsiya sohillari yaqinidagi Fjelbacka shahrida uning xotirasini sharaflash uchun maydon Ingrid Bergman maydoni deb nomlangan.[245] Bergman oyoqlarining yog'och qolipi Italiyaning Florentsiya shahridagi Salvatore Ferragamo muzeyida namoyish etilmoqda.[246][247] 2015 yil Shanxay avtosalonida Ferrari Bergmanga hurmat ko'rsatdi va Ferrari California T ning tashqi rangini "Grigio Ingrid" deb nomladi.[248] 1954 yilda Parijdagi avtoulov shouida Ferrari Rossellini tomonidan unga "Bergman kupesi" deb nomlangan to'y sovg'asi sifatida buyurtma qilingan 375 millimetrli MM namoyish qildi.[249]
Filmografiya, teatr, televizion, radio va audio
Mukofotlar va nominatsiyalar
Bergman uchta g'olib bo'lgan ikkinchi aktrisa edi Oskar mukofotlari aktyorlik uchun: ikkitasi uchun Eng yaxshi aktrisa, va bittasi Eng yaxshi ikkinchi darajali aktrisa. U qo'lga kiritilgan Oskar mukofotining ikkinchi pog'onasiga tenglashdi Valter Brennan (Uchalasi ham eng yaxshi ikkinchi darajali aktyor uchun), Jek Nikolson (ikkitasi eng yaxshi aktyor uchun, ikkinchisi eng yaxshi ikkinchi darajali aktyor uchun), Meril Strip (ikkitasi eng yaxshi aktrisa uchun, ikkinchisi eng yaxshi ikkinchi darajali aktrisa uchun) va Daniel Day-Lyuis (uchalasi ham eng yaxshi aktyor uchun). Katarin Xepbern rekord egasi, to'rttasi (barchasi eng yaxshi aktrisa uchun).
Oskar mukofotlari
Primetime Emmy mukofotlari
| Yil | Turkum | Nomzodlik ishi | Natija | Ref. |
|---|---|---|---|---|
| 1960 | Cheklangan seriyadagi yoki telefilmdagi ajoyib aktrisa | Vintning burilishi | Yutuq | [257] |
| 1961 | Cheklangan seriyadagi yoki telefilmdagi ajoyib aktrisa | Ayol hayotidagi 24 soat | Nomzod | [258] |
| 1982 | Cheklangan seriyadagi yoki telefilmdagi ajoyib aktrisa | Golda deb nomlangan ayol | Yutuq | [259] |
Toni mukofotlari
| Yil | Turkum | Nomzodlik ishi | Natija | Ref. |
|---|---|---|---|---|
| 1947 | Asarning eng yaxshi etakchi aktrisasi | Loraniyalik Joan | Yutuq | [260] |
Izohlar
Adabiyotlar
- ^ Nekrolog Turli xillik, 1 sentyabr 1982 yil.
- ^ "Biografiya - Ingrid Bergmanning rasmiy litsenziyalash veb-sayti". Ingrid Bergman. Olingan 12 noyabr 2020.
- ^ Xarlan, Jastin (2018 yil 12-aprel). "Criterion Buyuk" Betterlater "ni ECLIPSE 46-seriyasi bilan sharaflaydi: INGRID BERGMANNING SHVEDIY YILLARI". O'rta. Olingan 12 noyabr 2020.
- ^ a b v d Pendergast, Tom; Pendergast, Sara (2000). Sent-Jeyms Ommaviy madaniyat ensiklopediyasi. Farmington Hills, Michigan: Gale nashriyoti. ISBN 1-55862-405-8.
- ^ "AFI ning 100 yilligi ... 100 yulduz". Amerika kino instituti. Arxivlandi asl nusxasi 2006 yil 20 oktyabrda. Olingan 23 oktyabr 2006.
- ^ "Ingrid Bergman: hayotdagi rasmlar". The Guardian. 2015 yil 15-iyul. Olingan 29 dekabr 2017.
- ^ "Ingrid Bergmanning rasmiy veb-sayti". Ingridbergman.com. Olingan 31 may 2017.
- ^ a b v d e f g h men j k l m n Chandler, Sharlotta (2007). Ingrid: Ingrid Bergman, shaxsiy tarjimai holi. Nyu-York: Simon va Shuster. pp.19, 21, 294. ISBN 978-0-7432-9421-8.
- ^ Ziolkowska-Boem, Aleksandra (2013 yil 28-avgust). Ingrid Bergman va uning amerikalik qarindoshlari. ISBN 9780761861515.
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Manbalar
- Bergman, Ingrid; Burgess, Alan (1980). Ingrid Bergman: My Story. Nyu-York: Delacorte Press. ISBN 0-440-03299-7.
- Chandler, Charlotte (2007). Ingrid: Ingrid Bergman, A Personal Biography. Nyu-York: Simon va Shuster. ISBN 978-0-7432-9421-8.
- Leamer, Laurence (1986). As Time Goes By: The Life of Ingrid Bergman. Nyu-York: Harper va Row. ISBN 0-06-015485-3.
- Dagrada, Elena (2008). Le Varianti Trasparenti. I Film con Ingrid Bergman di Roberto Rossellini. Milano: LED Edizioni Universitarie. ISBN 978-88-7916-410-8.
- Ziolkowska-Boehm, Aleksandra (2013). Ingrid Bergman prywatnie. Warsaw: Proszynski. ISBN 978-83-7839-518-8.
- Ziolkowska-Boehm, Aleksandra (2013). Ingrid Bergman and her American Relatives. Lanham, MD: Hamilton Books. ISBN 978-0-7618-6150-8.
Tashqi havolalar
Bilan bog'liq ommaviy axborot vositalari Ingrid Bergman Vikimedia Commons-da
Bilan bog'liq kotirovkalar Ingrid Bergman Vikipediyada
- Ingrid Bergman kuni IMDb
- Ingrid Bergman da AllMovie
- Ingrid Bergman da TCM filmlar uchun ma'lumotlar bazasi
- Ingrid Bergman da Internet Broadway ma'lumotlar bazasi
- Ingrid Bergman da Britannica entsiklopediyasi
- Ingrid Bergman site run by CMG
- Ingrid Bergman Collection da Ueslian universiteti
- Ingrid Bergman book site da Orqaga qaytish mashinasi (archived 14 April 2015), run by Schirmer/Mosel Publishers Munich
- 1943 Nyu-York Tayms Suhbat
- Trailer from Isabella Rossellini's Ingrid Bergman A Life in Pictures
- Photos of Ingrid Bergman in Spellbound tomonidan Ned Skott
- "Remembering Ingrid Bergman at 100", August 2015
