Two film titles are given when different titles were used for the American and British releases. The American title appears first, followed by a slash. In a few instances, when the film was never formally released in the United States, the first title is apparently more common in both territories and the second (preceded by an “or”) is an American alternative.
1944
TORMENT/FRENZY (Hets)
Production/distribution: Svensk Filmindustri. Director: Alf Sjöberg. Producers: Harald Molander, Victor Sjöström (artistic consultant). Screenplay: Ingmar Bergman and Alf Sjöberg. Assistant to the director: Ingmar Bergman. Cinematography: Martin Bodin. Music: Hilding Rosenberg. Art direction: Arne Åkermark. Editing: Oscar Rosander. Premiere: October 2, 1944, at Röda Kvarn. Length: 101 minutes. With Stig Järrel (Caligula), Alf Kjellin (Jan-Erik Widgren), Mai Zetterling (Bertha Olsson), Olof Winnerstrand (headmaster), Gösta Cederlund (“Pippi”), Stig Olin (Sandman), Jan Molander (Pettersson), Olav Riégo (Widgren, an executive), Märta Arbin (Mrs. Widgren), Hugo Björne (physician), Anders Nyström (Bror Widgren), Nils Dahlgren (commissioner), Gunnar Björnstrand (young teacher), Carl-Olof Aim, Curt Edgård, Sten Gester, Palle Granditsky, Birger Malmsten, and Arne Ragneborn (students).
1945
CRISIS (Kris)
Production/distribution: Svensk Filmindustri. Director: Ingmar Bergman. Screenplay: Ingmar Bergman, adapted from the play Moderdyret (A Mother's Heart) by Leek Fischer. Producer: Harald Molander, Victor Sjöström (artistic consultant). Cinematography: Gösta Roosling. Music: Erland von Koch. Art direction: Arne Åkermark. Editor: Oscar Rosander. Premiere: February 25, 1946, at Spegeln. Length: 93 minutes. With Dagny Lind (Ingeborg), Marianne Löfgren (Jenny), Inga Landgré (Nelly), Stig Olin (Jack), Allan Bohlin (Ulf), Ernst Eklund (Uncle Edvard), Signe Wirff (Aunt Jessie), Svea Hoist (Malin), Arne Lindblad (mayor), Julia Caesar (mayor's wife), Dagmar Olsson (singer at the ball), Anna-Lisa Baude (customer in the millinery), Karl Erik Flens (Nelly's escort to the ball), Wiktor Andersson, Gus Dahlström, John Melin, Holger Höglund, Sture Ericson, and Ulf Johanson (musicians).
1946
IT RAINS ON OUR LOVE or MAN WITH AN
UMBRELLA (Det regnar på vår kärlek)
Production: Sveriges Folkbiografer. Distribution: Nordisk Tone-film. Director: Ingmar Bergman. Producer: Lorens Marmstedt. Screenplay: Ingmar Bergman and Herbert Grevenius, adapted from the play Bra mennesker (Good People) by Oscar Braathen. Cinematography: Hilding Bladh, Göran Strindberg. Music: Erland von Koch. Art direction: P. A. Lundgren. Editing: Tage Holmberg. Premiere: November 9, 1946, at Astoria. Length: 95 minutes. With Barbro Kollberg (Maggi), Birger Malmsten (David), Gösta Cederlund (man with umbrella), Ludde Gentzel (Håkansson), Douglas Håge (Andersson), Hjördis Petterson (Mrs. Andersson), Julia Caesar (Hanna Ledin), Gunnar Björnstrand (Mr. Purman), Magnus Kesster (Folke Törnberg), Sif Ruud (Gerti Törnberg), Åke Fridell (pastor), Benkt-Åke Benktsson (prosecuting attorney), Erik Rosén (judge), Sture Ericson (“Boot Strap”), Ulf Johanson (“Steel Whisk”), Torsten Hillberg (vicar), Erland Josephson (public servant).
1947
WOMAN WITHOUT A FACE (Kvinna utan ansikte) Production/distribution: Svensk Filmindustri. Director: Gustaf Molander. Producers: Harald Molander, Victor Sjöström (artistic consultant). Screenplay: Ingmar Bergman and Gustaf Molander, based on an idea by Bergman. Cinematography: Åke Dahlqvist. Music: Erik Nordgren and Julius Jacobsen. Art direction: Arne Åkermark and Nils Svenwall. Editing: Oscar Rosander. Premiere: September 16, 1947, at Röda Kvarn. Length: 102 minutes. With Alf Kjellin (Martin Grandé), Gunn Wållgren (Rut Kohler), Anita Björk (Frida Grandé), Stig Olin (Ragnar Ekberg), Olof Winner-strand (executive Grandé), Marianne Löfgren (Charlotte), Georg Funkquist (Victor), Åke Grönberg (Sam Svensson), Linnéa Hillberg (Mrs. Grandé), Calle Reinholdz and Karl Erik Flens (chimney sweeps), Sif Ruud (Magda Svensson), Ella Lindblom (Marie), Artur Rolén (“Flotten”), Wiktor Andersson (night guard), Björn Montin (Pil), Carl-Axel Elfving (mailman), Carin Swensson (Magda's girlfriend), Arne Lindblad (hotel manager), Lasse Sarri (bellboy), David Eriksson (porter), Torsten Hillberg (police detective), Ernst Brunman (cabdriver).
1947
A SHIP BOUND FOR INDIA or THE LAND OF
DESIRE (Skepp till Indialand)
Production: Sveriges Folkbiografer. Distribution: Nordisk Tone-film. Director: Ingmar Bergman. Screenplay: Ingmar Bergman, based on the play by Martin Söderhjelm. Producer: Lorens Marm-stedt. Cinematography: Göran Strindberg. Music: Erland von Koch. Art direction: P. A. Lundgren. Editing: Tage Holmberg. Premiere: September 22, 1947 at Royal. Length: 98 minutes. With Holger Löwenadler (Captain Alexander Blom), Birger Malmsten (Johannes Blom), Gertrud Fridh (Sally), Anna Lindahl (Alice Blom), Lasse Krantz (Hans), Jan Molander (Bertil), Erik Hell (Pekka), Naemi Briese (Selma), Hjördis Petterson (Sofie), Åke Fridell (cabaret manager), Peter Lindgren (foreign crew member), Gustaf Hiort af Ornäs and Torsten Bergström (Blom's friends), Ingrid Borthen (girl on the street), Gunnar Nielsen (young man), Amy Aaröe (young girl).
1947
NIGHT IS MY FUTURE/MUSIC IN DARKNESS
(Musik i mörker)
Production/distribution: Terrafilm. Director: Ingmar Bergman. Producer: Lorens Marmstedt. Screenplay: Dagmar Edqvist, based on her novel. Cinematography: Göran Strindberg. Music: Erland von Koch. Art direction: P. A. Lundgren. Editing: Lennart Wallén. Premiere: January 17, 1948, at Royal. Length: 87 minutes. With Mai Zetterling (Ingrid), Birger Malmsten (Bengt Vyldeke), Bengt Eklund (Ebbe), Olof Winnerstrand (vicar), Naima Wifstrand (Mrs. Schroder), Åke Claesson (Mr. Schröder), Bibi Skoglund (Agneta), Hilda Borgström (Lovisa), Douglas Håge (Kruge), Gunnar Björnstrand (Klasson), Segol Mann (Anton Nord), Bengt Logardt (Einar Born), Marianne Gyllenhammar (Blanche), John Elfström (Otto Klemens), Rune Andreasson (Evert), Barbro Flodquist (Hjördis), Ulla Andreasson (Sylvia), Sven Lindberg (Hedström), Svea Hoist (postal worker), Georg Skarstedt (Jönsson), Reinhold Svensson (intoxicated man in pub), Mona Geijer-Falkner (woman by trash can), Arne Lindblad (restaurant chef).
1948
PORT OF CALL (Hamnstad)
Production/distribution: Svensk Filmindustri. Director: Ingmar Bergman. Producer: Harald Molander. Screenplay: Ingmar Bergman and Olle Länsberg, based on Länsberg's story The Gold and the Walls. Cinematography: Gunnar Fischer. Music: Erland von Koch. Art direction: Nils Svenwall. Editing: Oscar Rosander. Premiere: October 18, 1948, at Skandia. Length: 100 minutes. With Nine-Christine Jönsson (Berit), Bengt Eklund (Gösta), Berta Hall (Berit's mother), Erik Hell (Berit's father), Mimi Nelson (Gertrud), Birgitta Valberg (social worker Vilander), Hans Strååt (engineer Vilander), Nils Dahlgren (Gertrud's father), Harry Ahlin (“Skån-ingen”), Nils Hallberg (Gustav), Sven-Eric Gamble (“Eken”), Sif Ruud (Mrs. Krona), Kolbjörn Knudsen (sailor), Yngve Nordwall (supervisor), Bengt Blomgren (Gunnar), Hanny Schedin (Gunnar's mother), Helge Karlsson (Gunnar's father), Stig Olin (Thomas), Else-Merete Heiberg (reform school girl), Britta Billsten (prostitute), Sture Ericson (police commissioner).
With Göran Strindberg, cinematographer for the first films.
1948
EVA
Production/distribution: Svensk Filmindustri. Director: Gustaf Molander. Producer: Harald Molander. Screenplay: Ingmar Bergman and Gustaf Molander, based on Bergman's short film The Trumpet Player and Our Lord. Cinematography: Åke Dahlqvist. Music: Erik Nordgren. Art direction: Nils Svenwall. Editing: Oscar Rosander. Premiere: December 12, 1948, at Röda Kvarn. Length: 98 minutes. With Birger Malmsten (Bo), Eva Stiberg (Eva), Eva Dahlbeck (Susanne), Stig Olin (Göran), åke Claesson (Fredriksson), Wanda Rothgardt (Mrs. Fredriksson), Inga Landgré (Frida), Hilda Borgström (Maria), Lasse Sarri (Bo at age 12), Olof Sandborg (Berglund), Carl Ström (Johansson), Sture Ericson (Josef), Erland Josephson (Karl), Hans Dahlin (Olle), Hanny Schedin (midwife), Yvonne Eriksson (Lena), Monica Wienzierl (Frida at age 7), Anne Karlsson (Marthe).
1948/49
THE DEVIL'S WANTON/PRISON (Fängelse)
Production/distribution: Terrafilm. Director, screenplay: Ingmar Bergman. Producer: Lorens Marmstedt. Cinematography: Göran Strindberg. Music: Erland von Koch. Art direction: P. A. Lundgren. Editing: Lennart Wallén. Premiere: March 19, 1949, at Astoria. Length: 79 minutes. With Doris Svedlund (Birgitta Carolina), Birger Malmsten (Thomas), Eva Henning (Sofi), Hasse Ekman (Martin Grandé), Stig Olin (Peter), Irma Christenson (Linnéa), Anders Henrikson (Paul), Marianne Löfgren (Mrs. Bohlin), Kenne Fant (Arne), Inger Juel (Greta), Curt Masreliez (Alf), Torsten Lilliecrona (cinematographer), Segol Mann (main electrician), Borje Mellvig (police commissioner), Åke Engfeldt (policeman), Bibi Lindqvist (Anna), Arne Ragneborn (Anna's fiance). Martin Grandé, a film director, is visited on the set by an old teacher, Paul, who presents him with an idea for a film about hell on earth. Martin relates this idea to the writer Thomas and his wife, Son. Thomas says that he has already found the female lead: he has just auditioned Birgitta Carolina, a prostitute.
After this prologue, six months pass. Birgitta Carolina gives birth to a child and is persuaded by her protector, Peter, and her sister, Linnéa, to get rid of it. Thomas and Son drink and argue. Son hits him on the head with a bottle. The police look for Birgitta Carolina and bring her in. At the police station she meets Thomas, who believes that he has killed his wife. Birgitta Carolina is let go after Peter intervenes on her behalf. Thomas discovers that Son is not dead but that she has left him.
Later Thomas encounters Birgitta Carolina again. They take a room at a pension where Thomas stayed as a child. Using an old-fashioned movie projector, he shows a silent film farce on the wall of their attic room. Birgitta Carolina dreams. Thomas makes her tell him about the child she gave away. Peter reads in the newspaper that a dead infant has been found. He locates Son and tells her where Thomas is. Thomas tells Son that he loves Birgitta Carolina and wants to help her. Birgitta Carolina goes back to live with Peter and Linnéa. She turns Thomas away. A customer rapes her. Peter finds her lying in the cellar with a knife in her hand. Birgitta Carolina dies.
Thomas returns to Son. Martin (the director) again meets with his old teacher. The film idea does not really hold water. It would end with a question, and there is nobody to whom one might ask this question.
1949
THREE STRANGE LOVES/THIRST (Törst)
Production/distribution: Svensk Filmindustri. Director: Ingmar Bergman. Producer: Helge Hagerman. Screenplay: Herbert Grevenius, based on a collection of short stories by Birgit Tengroth. Cinematography: Gunnar Fischer. Music: Erik Nordgren. Art direction: Nils Svenwall. Editing: Oscar Rosander. Premiere: October 17, 1949, at Spegeln. Length: 83 minutes. With Eva Henning (Rut), Birger Malmsten (Bertil), Birgit Tengroth (Viola), Mimi Nelson (Valborg), Hasse Ekman (Dr. Rosengren), Bengt Eklund (Raoul), Gaby Stenberg (Astrid), Naima Wifstrand (Miss Henriksson), Sven-Eric Gamble (glass worker), Gunnar Nielsen (physician's assistant), Estrid Hesse (patient), Helge Hagerman and Calle Flygare (clergymen), Monica Wienzierl (little girl on train), Verner Arpe (German conductor), Else-Merete Heiberg (Norwegian woman on train), Sif Ruud (talkative widow in graveyard).
1949
TO JOY (Till glädje)
Production/distribution: Svensk Filmindustri. Director, screenplay: Ingmar Bergman. Producer: Allan Ekelund. Cinematography: Gunnar Fischer. Art direction: Nils Svenwall. Editing: Oscar Rosander. Premiere: February 20, 1950, at Spegeln. Length: 98 minutes. With Stig Olin (Stig), Maj-Britt Nilsson (Marta), Victor Sjöström (Sönderby), Birger Malmsten (Marcel), John Ekman (Mikael Bro), Margit Carlqvist (Nelly Bro), Sif Ruud (Stina), Rune Stylander (Persson), Erland Josephson (Bertil), Georg Skarstedt (Anker), Berit Holmström (young Lisa), Björn Montin (Lasse), Svea Hoist (nurse), Ernst Brunman (caretaker of Concert House), Maud Hyttenberg (saleswoman in toy store).
1950
WHILE THE CITY SLEEPS (Medan staden sover)
Production/distribution: Svensk Filmindustri. Director: Lars-Eric Kjellgren. Producer: Helge Hagerman. Screenplay: Lars-Eric Kjellgren and Per Anders Fogelström, after an idea by Ingmar Bergman based on Fogelström's Ligister (Gang Members). Cinematography: Martin Bodin. Music: Stig Rybrant. Art direction: Nils Svenwall. Editing: Oscar Rosander. Premiere: September 8, 1950, at Skandia. Length: 102 minutes. With Sven-Eric Gamble (Jompa), Inga Landgré (Iris), Adolf Jahr (Iris's father), John Elfström (Jompa's father), Märta Dorff (Iris's mother), Elof Ahrle (the boss), Ulf Palme (Kalle Lund), Hilding Gavle (fence), Barbro Hiort af Ornas (Rut), Rolf Bergström (Gunnar), Ilse-Nore Tromm (Jompa's mother), Ulla Smidje (Asta), Ebba Flygare (wife of fence), Carl Ström (concierge), Mona Geijer-Falkner (manager), Alf Östlund (Andersson), Hans Sundberg (Knatten), Lennart Lundh (Slampen), Arne Ragneborn (Sune), Hans Dahlberg (Lång-Sam), Åke Hylén (Pekå), Börje Mellvig (prosecuting attorney), Olav Riégo (judge), Arthur Fischer (policeman), Harriet Andersson (Lucia), Henrik Schildt (party guest), Julius Jacobsen (piano player at restaurant), Gunnar Hellströxm (young man at restaurant).
With Hasse Ekman during the filming of Three Strange Loves.
1950
ILLICIT INTERLUDE/SUMMER INTERLUDE
(Sommarlek)
Production/distribution: Svensk Filmindustri. Director: Ingmar Bergman. Producer: Allan Ekelund. Screenplay: Ingmar Bergman and Herbert Grevenius, based on Mari, a story by Bergman. Cinematography: Gunnar Fischer. Music: Erik Nordgren, Bengt Wallerström, and Eskil Eckert-Lundin. Art direction: Nils Svenwall. Editing: Oscar Rosander. Premiere: October 1, 1951, at Röda Kvarn. Length: 96 minutes. With Maj-Britt Nilsson (Marie), Birger Malmsten (Henrik), Alf Kjellin (David), Annalisa Ericson (Kaj), Georg Funkquist (Uncle Erland), Stig Olin (ballet master), Renée Björling (Aunt Elisabeth), Mimi Pollak (petite woman), John Botvid (Karl), Gunnar Olsson (pastor), Douglas Håge (Nisse with the nose), Julia Caesar (Maja), Carl Ström (Sandell), Torsten Lilliecrona (Light-Pelle), Olav Riégo (physician), Ernst Brunman (skipper), Fylgia Zadig (nurse), Sten Mattsson (deckhand), Carl-Axel Elfving (flower deli very man).
1950
THIS CAN'T HAPPEN HERE or HIGH TENSION
(Sånt händer inte här)
Production/distribution: Svensk Filmindustri. Director: Ingmar Bergman. Producer: Helge Hagerman. Screenplay: Herbert Grevenius, based on the novel During Twelve Hours by Peter Valentin (Waldemar Br∅gger). Cinematography: Gunnar Fischer. Music: Erik Nordgren. Art direction: Nils Svenwall. Editing: Lennart Wallén. Premiere: October 23, 1950, at Röda Kvarn. Length: 84 minutes. With Signe Hasso (Vera), Alf Kjellin (Almkvist), Ulf Palme (Atkä Natas), Gösta Cederlund (physician), Yngve Nordwall (Lindell), Stig Olin (young man), Ragnar Klange (Filip Rundblom), Hannu Kompus (pastor), Sylvia Tael (Vanja), Els Vaarman (refugee woman), Edmar Kuus (Leino), Rudolf Lipp (“The Shadow”), Lillie Wästfeldt (Mrs. Rundblom), Segol Mann, Willy Koblanck, Gregor Dahlmann, Gösta Holmström, and Ivan Bousé (agents), Hugo Bolander (hotel manager), Helena Kuus (woman at wedding), Alexander von Baumgarten (sea captain), Eddy Andersson (ship's engineer), Fritjof Hellberg (first mate), Mona Åstrand (young girl), Mona Geijer-Falkner (woman in apartment building), Erik Forslund (concierge), Georg Skarstedt (worker with hangover), Tor Borong (caretaker), Magnus Kesster (neighbor in Ålsten), Maud Hyttenberg (graduate), Helga Brofeldt (shocked old woman), Sven Axel Carlsson (youngster).
1950
DIVORCED (Frånskild)
Production/distribution: Svensk Filmindustri. Director: Gustaf Molander. Producer: Allan Ekelund. Screenplay: Ingmar Bergman and Herbert Grevenius. Cinematography: Åke Dahlqvist. Music: Erik Nordgren and Bengt Wallerstrom. Art direction: Nils Svenwall. Editing: Oscar Rosander. Premiere: December 26, 1951, at Röda Kvarn. Length: 103 minutes. With Inga Tidblad (Gertrud Holmgren), Alf Kjellin (Dr. Bertil Nordelius), Doris Svedlund (Marianne Berg), Hjördis Petterson (Mrs. Nordelius), Håkan Westergren (P. A. Beckman, manager), Irma Christenson (Dr. Cecilia Lindeman), Holger Löwenadler (Tore Holmgren, engineer), Marianne Löfgren (“The Boss, Mrs. Ingeborg”) Stig Olin (Hans), Elsa Prawitz (Elsie), Birgitta Valberg (Eva Möller, attorney), Sif Ruud (Rut Boman), Carl Ström (Öhman), Ragnar Arvedson (department head), Ingrid Borthen (his wife), Yvonne Lombard (beautiful young wife), Einar Axelsson (businessman), Rune Hal-varson (advertising executive), Rudolf Wendbladh (banker), Guje Lagerwall, Nils Ohlin, and Nils Jacobsson (dinner guests), Hanny Schedin (Mrs. Nilsson), Harriet Andersson (prospective employee), Christian Bratt (tennis player).
1952
SECRETS OF WOMEN/WAITING WOMEN
(Kvinnors väntan)
Production/distribution: Svensk Filmindustri. Director, screenplay: Ingmar Bergman. Producer: Allan Ekelund. Cinematographer: Gunnar Fischer. Music: Erik Nordgren. Art direction: Nils Svenwall. Editing: Oscar Rosander. Premiere: November 3, 1952, at Röda Kvarn. Length: 107 minutes. With Anita Björk (Rakel), Maj-Britt Nilsson (Marta), Eva Dahlbeck (Karin), Gunnar Björnstrand (Fredrik Lobelius), Birger Malmsten (Martin Lobelius), Jarl Kulle (Kaj), Karl-Arne Holmsten (Eugen Lobelius), Gerd Andersson (Maj), Björn Bjelfvenstam (Henrik Lobelius), Aino Taube (Annette), Håkan Westergren (Paul Lobelius), Kjell Nordenskiöld (Bob), Carl Ström (anesthesiologist), Märta Arbin (nurse Rut), Torsten Lilliecrona (maitre d' at nightclub), Victor Violacci (patron), Naima Wifstrand (old Mrs. Lobelius), Wiktor Andersson (trash collector), Douglas Håge (concierge), Lil Yunkers (emcee), Lena Brogren (practical nurse).
With Maj-Britt Nilsson in Waiting Women. Behind the camera: Gunnar Fischer.
1952
MONIKA/SUMMER WITH MONIKA (Sommaren med Monika)
Production/distribution: Svensk Filmindustri. Director: Ingmar Bergman. Producer: Allan Ekelund. Screenplay: Ingmar Bergman and Per Anders Fogelström, based on Fogelström's novel. Cinematography: Gunnar Fischer. Music: Erik Nordgren, Eskil Eckert-Lundin and Walle Soderlund. Art direction: P. A. Lundgren. Editing: Tage Holmberg, Gösta Lewin. Premiere: February 9, 1953, at Spegeln. Length: 96 minutes. With Harriet Andersson (Monika), Lars Ekborg (Harry), John Harryson (Lelle), Georg Skarstedt (Harry's father), Dagmar Ebbesen (Harry's aunt), Åke Fridell (Monika's father), Naemi Briese (Monika's mother), Åke Grönberg (foreman), Gösta Eriksson (Forsberg, an executive), Gösta Gustafsson (Forsberg's accountant), Sigge Fürst (foreman at porcelain warehouse), Gösta Prüzelius (salesman at Forsberg's), Arthur Fischer (head of vegetable warehouse), Torsten Lilliecrona (driver at vegetable warehouse), Bengt Eklund (foreman at vegetable warehouse), Gustaf Färingborg (assistant at vegetable warehouse), Ivar Wahlgren (homeowner), Renée Björling (his wife), Catrin Westerlund (their daughter), Wiktor Andersson and Birger Sahlberg (beer drinkers), Hanny Schedin (Mrs. Boman in Apartment 12), Anders Andelius and Gordon Löwenadler (Monika's suitors), Nils Hultgren (vicar), Nils Whitén, Tor Borong, and Einar Söderbäck (ragmen), Bengt Brunskog (Sicke), Magnus Kesster and Carl-Axel Elfving (workers), Astrid Bodin&Mona Geijer-Falkner (wives in windows), Ernst Brunman (tobacco store owner).
1953
THE NAKED NIGHT/SAWDUST AND TINSEL
(Gycklarnas afton)
Production: Sandrewproduktion. Distribution: Sandrew-Bauman. Director, screenplay: Ingmar Bergman. Producer: Rune Waldekranz. Cinematography: Hilding Bladh, Sven Nykvist. Music: Karl-Birger Blomdahl. Art direction: Bibi Lindström. Editing: Carl-Olov Skeppstedt. Premiere: September 14, 1953, at Grand. Length: 93 minutes. With Harriet Andersson (Anne), Åke Grönberg (Albert Johansson), Hasse Ekman (Frans), Anders Ek (Frost), Gudrun Brost (Alma), Annika Tretow (Agda), Gunnar Björnstrand (Sjuberg, theater manager), Erik Strandmark (Jens), Kiki (dwarf), Åke Fridell (officer), Majken Torkeli (Mrs. Ekberg), Vanje Hedberg (her son), Curt Löwgren (Blom), Conrad Gyllenhammar (Fager), Mona Sylwan (Mrs. Fager), Hanny Schedin (Aunt Asta), Michael Fant (pretty Anton), Naemi Briese (Mrs. Meijer), Lissi Alandh, Karl-Axel Forssberg, Olav Riégo, John Starck, Erna Groth, and Agda Helin (actors), Julie Bernby (tightrope walker), Göran Lundquist and Mats Hådell (Agda's boys).
The threadbare Circus Alberti is on its way to yet another small town. It is dawn. The owner of the circus, Albert Johansson, sits next to the coachman, together with Jens, one of the clowns. The latter tells the story of how Alma, the wife of the white circus clown Frost, went swimming in the nude one summer day in front of several artillery men.
Albert wants to arrange a parade to draw people to the circus. He and Anne, his circus rider and mistress, go to visit Sjuberg, manager of the city theater, in order to beg him to lend them costumes.
Sjuberg is patronizing but finally agrees to let them borrow the clothes if they will invite the theater's ensemble to the gala performance at the circus. Anne meets Frans, the leading actor at the theater. The parade through town is stopped by city officials. Albert looks up his wife and family, whom he had deserted. He finds that his wife, Agda, has settled down into a financially secure, idyllic situation and suggests they become a family again. But Agda has had enough of circus life and humiliation.
Anne, wildly jealous, goes back to the theater, where Frans takes advantage of her situation. When Albert realizes that he has been betrayed, he gets drunk with the clown Frost. The evening's gala performance ends up with Albert and Frans fighting. After losing the fight, Albert, bruised and bloody, locks himself in his trailer with a revolver. He attempts suicide but fails. Instead the old, sick circus bear absorbs the brunt of his wrath. The circus hits the road again. Anne meets Albert, and the two walk behind the circus trailers, heading for the next stop. The circus rolls onward. On and on forever.
1953
A LESSON IN LOVE (En lektion i kärlek)
Production/distribution: Svensk Filmindustri. Director, screenplay: Ingmar Bergman. Producer: Allan Ekelund. Cinematography: Martin Bodin. Music: Dag Wirén. Art direction: P. A. Lundgren. Editing: Oscar Rosander. Premiere: October 4, 1954, at Röda Kvarn. Length: 96 minutes. With Eva Dahlbeck (Marianne Erneman), Gunnar Björnstrand (Dr. David Erneman), Yvonne Lombard (Suzanne), Harriet Andersson (Nix), Åke Grönberg (Carl-Adam), Olof Winnerstrand (Professor Henrik Erneman), Renée Björling (Svea Erneman), Birgitte Reimer (Lise), John Elfstrom (Sam), Dagmar Ebbesen (nurse), Helge Hagerman (traveling salesman), Sigge Fürst (pastor), Gösta Prüzelius (train conductor), Carl Ström (Uncle Axel), Torsten Lilliecrona (porter), Arne Lindblad (hotel manager), Yvonne Brosset (dancer).
1954/55
DREAMS/JOURNEY INTO AUTUMN (Kvinnodröm)
Production: Sandrewproduktion. Distribution: Sandrew-Bauman. Director, screenplay: Ingmar Bergman. Producer: Rune Waldekranz. Cinematography: Hilding Bladh. Music: Stuart Görling. Art direction: Gittan Gustafsson. Editing: Carl-Olov Skeppstedt. Premiere: August 22, 1955, at Grand. Length: 87 minutes. With Eva Dahlbeck (Susanne), Harriet Andersson (Doris), Gunnar Björnstrand (consul), Ulf Palme (Lobelius, chief manager), Inga Landgré (Mrs. Lobelius), Sven Lindberg (Palle), Naima Wifstrand (Mrs. Arén), Benkt-Åke Benktsson (Magnus, an executive), Git Gay (lady in women's boutique), Ludde Gentzel (photographer Sundström), Kerstin Hedeby (Marianne), Jessie Flaws (makeup artist), Marianne Nielsen (Fanny), Bengt Schött (fashion designer in photo studio), Axel Düberg (photographer in Stockholm), Gunhild Kjellqvist (dark-haired girl in boutique), Renée Björling (wife of Professor Berger), Tord Stål (Mr. Barse), Richard Mattsson (Månsson), Inga Gill (saleswoman in bakery), Per-Erik Åström (chauffeur), Carl-Gustaf Lindstedt (porter), Asta Beckman (waitress).
1955
SMILES OF A SUMMER NIGHT (Sommarnattens leende)
Production/distribution: Svensk Filmindustri. Director, screenplay: Ingmar Bergman. Producer: Allan Ekelund. Cinematography: Gunnar Fischer. Music: Erik Nordgren. Art direction: P. A. Lundgren. Editing: Oscar Rosander. Premiere: December 26, 1955, at Röda Kvarn. Length: 108 minutes. With Eva Dahlbeck (Desirée Armfeldt), Gunnar Björnstrand (Fredrik Egerman), Ulla Jacobsson (Anne Egerman), Harriet Andersson (Petra), Margit Carlqvist (Charlotte Malcolm), Åke Fridell (coachman Frid), Björn Bjelfvenstam (Henrik Egerman), Naima Wifstrand (old Mrs. Armfeldt), Julian Kindahl (cook), Gull Natorp (Malla), Birgitta Valberg and Bibi Andersson (actresses), Anders Wulff (Fredrik), Jarl Kulle (Count Carl Magnus Malcolm), Gunnar Nielsen (Niklas), Gösta Prüzelius (valet), Svea Holst (wardrobe manager), Hans Strååt (photographer Almgren), Lisa Lundholm (Mrs. Almgren), Lena Söderblom and Mona Malm (lady's maids), Josef Norman (elderly dinner guest), Arne Lindblad (actor), Börje Mellvig (assessor), Ulf Johanson (assistant at legal firm), Yngve Nordwall (Ferdinand), Sten Gester and Mille Schmidt (valets).
In a small town at the turn of the century, an actress, Desirée Armfeldt, is guest-starring in a play at the local theater. A lawyer, Fredrik Egerman, once Desiree's lover, is taking a nap after dinner with his young wife, Anne. In his sleep, he mumbles Desirée's name. During the evening's performance Anne begins to cry; Fredrik takes her home. There he surprises his grown son, Henrik, a theology student, with the maid, Petra.
Fredrik and his young wife have a platonic marriage. After saying good night to her, he returns to the theater and goes to Desirée's dressing room. He seeks advice from his former lover and brings her to her lodgings. He finds out that she has a small son, named Fredrik. Dressed in a borrowed dressing gown, he is surprised by a knock on the door. Count Malcolm, the owner of the dressing gown, enters. Fredrik and his clothes are thrown out.
Desirée visits her old mother's castle to tell her that she has ended her relationship with Count Malcolm. She asks her mother to arrange a party with Fredrik Egerman and his wife, the count and his wife, and Henrik (Fredrik's son) as guests.
The guests arrive. Frid, the coachman, shows the maid Petra a secret button in Henrik's bedroom. If the button is pressed, a bed from the adjoining bedroom, occupied by Fredrik and Anne, slides into the room.
Desirée and Countess Charlotte are busy with their intrigues. During dinner Henrik indulges in an angry outburst toward his father (Fredrik). Henrik and Anne leave the table. Henrik tries to hang himself in his room but falls against the button that Frid showed Petra. Into the room pivots the bed with the sleeping Anne. Henrik kisses her awake. Frid tells Petra about the three smiles of the summer night. They help Henrik and Anne flee.
Desirée tells Count Malcolm that she has seen Countess Charlotte and Fredrik in the castle's garden pavilion. Malcolm rushes over there, throws his wife out, and challenges his rival to Russian roulette. The two women wait in the park. A shot is heard. The count appears at the door of the pavilion, laughing. He had loaded his gun with soot. Desirée consoles the blackened Fredrik. Over by the haystack Frid promises to marry Petra. The summer night smiles.
1956
LAST COUPLE OUT (Sista Paret Ut)
Production/distribution: Svensk Filmindustri. Director: Alf Sjöberg. Producer: Allan Ekelund. Screenplay: Ingmar Bergman. Cinematography: Martin Bodin. Music: Erik Nordgren, Charles Redland, Bengt Hallberg, and Julius Jacobsen. Art direction: Harald Garmland. Editing: Oscar Rosander. Premiere: November 12, 1956, at Röda Kvarn and Fontänen. Length: 103 minutes. With Olof Widgren (attorney Hans Dahlin), Eva Dahlbeck (Susanne Dahlin), Björn Bjelfvenstam (Bo Dahlin), Johnny Johansson (Sven Dahlin), Märta Arbin (grandmother), Julian Kindahl (Alma), Jarl Kulle (Dr. Farell), Nancy Dalunde (Mrs. Farell), Bibi Andersson (Kerstin), Harriet Andersson (Anita), Aino Taube (Kerstin's mother), Jan-Olof Strandberg (Claes Berg), Hugo Björne (lector), Göran Lundquist (“Knatten”), Kerstin Hörnblad, Mona Malm, Olle Davide, Claes-Håkan Westergren, Lena Söderblom, and Kristina Adolphson (students), Svenerik Perzon (newspaper vendor).
1956
THE SEVENTH SEAL (Det sjunde inseglet)
Production/distribution: Svensk Filmindustri. Director, screenplay: Ingmar Bergman, based on his play Wood Painting. Producer: Allan Ekelund. Cinematography: Gunnar Fischer. Music: Erik Nordgren. Art Direction: P. A. Lundgren. Editing: Lennart Wallen. Premiere: February 16, 1957, at Röda Kvarn. Length: 96 minutes. With Max von Sydow (Antonius Block), Gunnar Björnstrand (Jons), Nils Poppe (Jof), Bibi Andersson (Mia), Bengt Ekerot (Death), Åke Fridell (Plog), Inga Gill (Lisa), Erik Strandmark (Skat), Bertil Anderberg (Raval), Gunnel Lindblom (speechless woman), Inga Landgré (Block's wife), Anders Ek (monk), Maud Hansson (witch), Gunnar Olsson (church painter), Lars Lind (young monk), Benkt-Åke Benktsson (innkeeper), Gudrun Brost (woman at the inn), Ulf Johanson (leader of the soldiers). On a beach, the knight, Antonius, meets Death. They play chess; at stake is the knight's life.
The clown Jof awakens and sees the Holy Virgin in a vision. He arouses his wife, Mia, and tells her. Antonius and his squire, Jöns, arrive at a church. Jöns speaks to a church painter who is painting the Dance of Death and tells him about the plague. In an abandoned house Jöns surprises a grave robber whom he recognizes as Raval, the initiator of the crusade from which Antonius and J∅ns have just returned. On stage, in front of an audience, Jof and Mia perform. They are interrupted by a procession of flagellants. The clown Skat courts the blacksmith's wife, Lisa.
Plog, the blacksmith, who is looking for Lisa at the inn, attacks the innocent Jof, who is saved by Jöns. When Jof returns to his wagon, Maria offers the knight and Jöns wild strawberries and milk.
The knight encounters Death again. Their chess game continues. Jof and Mia accompany the knight. In the woods Plog finds his wife, Lisa, who is now repentant. Skat pretends to be dead and climbs a tree, but Death cuts it down. In the woods a young woman is burned as a witch responsible for the plague. Raval dies, the victim of pestilence.
Jof watches as the knight and Death continue their chess game. When the knight returns home, his wife is alone in the fortress. She serves the morning meal, and Death knocks on the portal for the last chess move. Morning dawns over Jof and Mia and their son. Jof has another vision: Death dancing off, followed by the Knight and his retinue.
1957
WILD STRAWBERRIES (Smultronstallet)
Production/distribution: Svensk Filmindustri. Director, screenplay: Ingmar Bergman. Producer: Allan Ekelund. Cinematography: Gunnar Fischer. Music: Erik Nordgren and Göte Lovén. Art direction: Gittan Gustafsson. Editing: Oscar Rosander. Premiere: December 26, 1957, at Röda Kvarn and Fontänen. Length: 91 minutes. With Victor Sjöström (Isak Borg), Bibi Andersson (Sara),Ingrid Thulin (Marianne), Gunnar Björnstrand (Evald), Folke Sundquist (Anders), Björn Bjelfvenstam (Viktor), Naima Wifstrand (Isak's mother), Julian Kindahl (Agda), Gunnar Sjöberg (engineer Alman), Gunnel Broström (Mrs. Alman), Gertrud Fridh (Isak's wife), Åke Fridell (her lover), Max von Sydow (Åkerman), Sif Ruud (the aunt), Yngve Nordwall (Uncle Aron), Per Sjöstrand (Sigfrid), Gio Petré (Sigbritt), Gunnel Lindblom (Charlotta), Maud Hansson (Angelica), Lena Bergman (Kristina), Per Skogsberg (Hagbart), Göran Lundquist (Benjamin), Eva Norée (Anna), Monica Ehrling (Birgitta), Ann-Mari Wiman (Eva Åkerman), Vendela Rudbäck (Elisabeth), Helge Wulff (promotor).
On the set of Wild Strawberries with Victor Sjöström and Gösta Ekman, a young assistant director.
Professor Isak Borg is to receive an honorary degree at Lund University on his fiftieth anniversary as a professor. During the night he dreams that he finds himself in an unknown, empty city. A coffin falls off a wagon. A hand reaches out from the coffin and grabs hold of him. He sees himself lying in the coffin.
Instead of flying from Stockholm to Lund, Borg decides to drive there. He is accompanied by his daughter-in-law, Marianne. During the trip Marianne tells him about her marriage with Evald and comments on the icy relationship between her father-in-law and her husband. Isak stops the car by a forest. He tells her that he and his siblings used to stay there every summer, a long, long time ago. Marianne wants to go for a swim and sets out for the lake. Isak gets lost in his memories. He sees his brother Sigfrid kiss Sara, who was Isak's beloved.
He is awakened by a young girl looking for a ride. Her name is also Sara. She and her companions, Anders and Viktor, are given a ride. They come close to colliding with another car, which veers into a ditch. The driver and his wife are given a ride by Borg. Between the new passengers, Mr. and Mrs. Alman, a marital fight breaks out. It reaches such violence that Marianne asks them to get out of the car. After lunch Isak Borg visits his old mother.
Continuing on the drive, he dreams again: he loses Sara to Sigfrid. He is called in for an academic examination by Mr. Alman, who accuses him of emotional frigidity. In a forest he sees his dead wife meet her lover. Marianne tells Isak that she is pregnant and that the reason for her marital crisis is that Evald does not want this new responsibility. Borg is awarded his honorary degree. When he goes to bed, the young people to whom he gave a lift stand outside his window, congratulating him. He speaks with Evald and Marianne. He remembers his childhood again. He and Sara arrive at a place where the wild strawberries grow. On the other side of the bay he sees his father and mother. They wave to him.
1957
BRINK OF LIFE/SO CLOSE TO LIFE (Nära livet)
Production/distribution: Nordisk Tonefilm. Director: Ingmar Bergman. Producer: Gösta Hammarbäck. Screenplay: Ulla Isaksson, based on her short stories The Friendly and Dignified and The Immovable. Cinematography: Max Wilén. Art direction: Bibi Lindström. Editing: Carl-Olov Skeppstedt. Premiere: March 31, 1958, at Röda Kvarn and Fontänen. Length: 84 minutes. With Ingrid Thulin (Cecilia Ellius), Eva Dahlbeck (Stina Andersson), Bibi Andersson (Hjördis Petterson), Barbro Hiort af Ornäs (nurse Brita), Max von Sydow (Harry Andersson), Erland Josephson (Anders Ellius), Anne-Marie Gyllenspetz (social worker), Gunnar Sjöberg (Dr. Nordlander), Margaretha Krook (Dr. Larsson), Lars Lind (Dr. Thylenius), Sissi Kaiser (nurse Mari), Inga Gill (new mother), Kristina Adolphson (practical nurse), Maud Elfsiö (student nurse), Monica Ekberg (Hjördis's girlfriend), Gun Jönsson (night nurse), Gunnar Nielsen (doctor), Inga Landgré (Greta Ellius).
1958
THE MAGICIAN/THE FACE (Ansiktet)
Production/distribution: Svensk Filmindustri. Director, screenplay: Ingmar Bergman. Producer: Allan Ekelund. Cinematography: Gunnar Fischer. Music: Erik Nordgren. Art direction: P. A. Lundgren. Editing: Oscar Rosander. Premiere: December 26, 1958, at Röda Kvarn and Fontänen. Length: 100 minutes. With Max von Sydow (Albert Emanuel Vogler), Ingrid Thulin (Manda Vogler/ Aman), Åke Fridell (Tubal), Naima Wifstrand (Vogler's grandmother), Lars Ekborg (Simson), Gunnar Björnstrand (health official Vergérus), Erland Josephson (consul Egerman), Gertrud Fridh (Ottilia Egerman), Toivo Pawlo (police chief Starbeck), Ulla Sjöblom (Henrietta Starbeck), Bengt Ekerot (Johan Spegel), Sif Ruud (Sofia Garp), Bibi Andersson (Sara), Birgitta Pettersson (Sanna), Oscar Ljung (Antonsson), Axel Düberg (Rustan), Tor Borong, Arne Mårtensson, Harry Schein, and Frithiof Bjärne (customs officers).
In a covered wagon (Doctor Vogler's Magnetic Health Theater) travel Vogler, a magician specializing in magnetism, his wife, Manda, disguised as young Mr. Aman, his grandmother, and his assistant, Tubal. On the coachman's box sits Simson. They are on their way to Stockholm. The year is 1846. In a dark forest they pick up Johan Spegel, an alcoholic and an obviously faded actor.
The troupe is escorted from one of Stockholm's customs points to consul Egerman's house. The consul and his wife have guests: police chief Starbeck and health official Vergérus. Tubal speaks on behalf of the group. The magician Vogler is speechless; Mr. Aman answers questions for him. Vergérus sees Vogler as a charlatan, who must be unmasked scientifically at the following day's performance. Grandmother, Tubal, and Simson consort with the Egermans' servants in the kitchen. Tubal disappears with the cook Sofia, Simson with the maid Sara. A ghostly apparition is seen by the valet Rustan and the coachman Antonsson; he steals their alcohol. The ghost is Spegel, not yet dead.
While Vogler and Manda/Aman are preparing for their performance, Mrs. Egerman enters the room. She asks Vogler to come to her bedroom. Now Spegel shows himself to Vogler and dies in the magician's coffin. Vergérus discovers that Mr. Aman is Manda. He offers her his protection. Vogler enters and attacks Vergérus. Then he removes his mask. Unmasked, the married couple (Mr. and Mrs. Vogler) lie in bed and speak of the golden times that once were theirs.
With Sif Ruud, Åke Fridell, and Bibi Andersson in The Magician.
It is time for the performance. The police chief's wife is hypnotized by Vogler, and she bursts out with insults toward her husband. The coachman Antonsson is draped in invisible chains. Once liberated, he knocks Vogler to the ground. Vergérus establishes that Vogler is dead. He intends to perform an autopsy on the body in the attic. The grandmother finds the coachman Antonsson. He has hanged himself.
Vergérus performs the autopsy, alone in the attic. In a mirror he sees Vogler without his mask. Terror grips Vergérus. He rushes down the stairs. It turns out that Vergérus has performed the autopsy on the dead actor Spegel. He says that he has experienced a terribly bad performance.
The group is ready to leave. Tubal stays with the cook Sofia. The grandmother declares that her traveling days are over. But the maid Sara follows Simson. Policemen come over. Vogler and Manda are brought back to Egerman's house, where the police chief declares that His Majesty the King wishes to see their performance. In triumph Vogler and Manda, Simson, and Sara set out for the castle.
1959
THE VIRGIN SPRING (Jungfrukällan)
Production/distribution: Svensk Filmindustri. Director: Ingmar Bergman. Screenplay: Ulla Isaksson, based on the ballad Töre's Daughter in Wänge. Cinematography: Sven Nykvist. Music: Erik Nordgren. Art direction: P. A. Lundgren. Editing: Oscar Rosander. Premiere: February 8, 1960, at Röda Kvarn. Length: 89 minutes. With Max von Sydow (Töre), Birgitta Valberg (Märeta), Gunnel Lindblom (Ingeri), Birgitta Pettersson (Karin), Axel Düberg (the skinny one), Tor Isedal (the one without a tongue), Allan Edwall (beggar), Ove Porath (boy), Axel Slangus (bridge guard), Gudrun Brost (Frida), Oscar Ljung (Simon), Tor Borong and Leif Forstenberg (farmhands).
1959/60
THE DEVIL'S EYE (Djävulens öga)
Production/distribution: Svensk Filmindustri. Director, screenplay: Ingmar Bergman, based on the radio play Don Juan Returns by Oluf Bang. Producer: Allan Ekelund. Cinematography: Gunnar Fischer. Music: Erik Nordgren. Art direction: P. A. Lundgren. Editing: Oscar Rosander. Premiere: October 17, 1960, at Röda Kvarn and Fontänen. Length: 87 minutes. With Jarl Kulle (Don Juan), Bibi Andersson (Britt-Marie), Stig Järrel (Satan), Nils Poppe (vicar), Gertrud Fridh (Mrs. Renata), Sture Lagerwall (Pablo), Gunnar Björnstrand (actor), Georg Funkquist (Count Armand de Rochefoucauld), Gunnar Sjöberg (Marquis Giuseppe Maria de Macopanza), Axel Düberg (Jonas), Torsten Winge (the old one), Kristina Adolphson (veiled woman), Allan Edwall (the demon who whispers in the ear), Ragnar Arvedson (guard demon), Börje Lundh (hairdresser), Lenn Hjörtzberg (enema doctor), John Melin (beauty doctor), Sten Torsten Thuul (tailor), Arne Lindblad (his assistant), Svend Bunch (transformation expert), Tom Olsson (masseur), Inga Gill (parlormaid).
1960
THROUGH A GLASS DARKLY (Såsom i en spegel)
Production/distribution: Svensk Filmindustri. Director, screenplay: Ingmar Bergman. Producer: Allan Ekelund. Cinematography: Sven Nykvist. Music: Erik Nordgren. Art direction: P. A. Lundgren. Editing: Ulla Ryghe. Premiere: October 16, 1961, at Röda Kvarn and Fontänen. Length: 89 minutes. With Harriet Andersson (Karin), Max von Sydow (Martin), Gunnar Björnstrand (David), Lars Passgård (Fredrik, called Minus).
Four people come out of the ocean after a swim. David, a widower, is a writer. His daughter, Karin, has been in and out of the hospital for schizophrenia. She is married to Martin, a physician. Minus is Karin's seventeen-year-old brother.
David and Martin cast fishing nets; the sister and brother go to fetch milk. During dinner David says that he will soon be returning to Switzerland, where he has just been. Brother and sister perform a play that Minus has written. It concerns a writer who can experience love only when he is writing about it.
Toward dawn David is sitting in his room, working on his latest novel. Karin is awake. In the attic she has an experience with her split world. Then she falls asleep in her father's room. While David and Minus bring in the nets, Karin awakens and reads in her father's diary that he believes her illness is incurable.
David and Martin leave the island together to run an errand. Karin has told Martin about the diary, and Martin accuses David of emotional coldness. David confesses that he attempted suicide while in Switzerland. Karin tells Minus about her two worlds. Minus finds her later in an old wreck down by the seashore. When David and Martin return, Minus tells them about Karin's confused condition. Martin orders a helicopter. They pack. Karin disappears into the attic again. There she engages in a conversation with the world that exists only behind the wallpaper. She is given a calming injection and says there is a spider who visits her: “I have seen God.” Karin is taken away in the helicopter. David and Minus are alone on the island. They speak about God's love. Minus whispers, “Daddy spoke to me.”
1961
THE PLEASURE GARDEN (Lustgården)
Production/distribution: Svensk Filmindustri. Director: Alf Kjellin. Producer: Allan Ekelund. Screenplay: “Buntel Eriksson” (Ingmar Bergman and Erland Josephson). Cinematography: Gunnar Fischer (color). Music: Erik Nordgren. Art direction: P. A. Lundgren. Editing: Ulla Ryghe. Premiere: December 26, 1961, at Rö da Kvarn and Fanfaren. Length: 93 minutes. With Sickan Carlsson (Fanny), Gunnar Bjö rnstrand (David), Bibi Andersson (Anna), Per Myrberg (Emil), Kristina Adolphson (Astrid), Stig Järrel (Lundberg), Hjördis Petterson (Ellen), Gösta Cederlund (Liljedahl), Torsten Winge (Wibom), Lasse Krantz (restaurant manager), Fillie Lyckow (Berta), Jan Tiselius (Ossian), Stefan Hübinette (volunteer), Sven Nilsson (bishop), Rolf Nystedt (mayor), Sten Hedlund (principal), Stina Ståhle (his wife), Lars Westlund (postmaster), Ivar Uhlin (Dr. Brusén), Birger Sahlberg (policeman).
1961/62
WINTER LIGHT(Nattvardsgästerna)
Production/distribution: Svensk Filmindustri. Director, screenplay: Ingmar Bergman. Producer: Allan Ekelund. Cinematography: Sven Nykvist. Art direction: P. A. Lundgren. Editing: Ulla Ryghe. Premiere: February 11, 1963, at Röda Kvarn and Fontänen. Length: 81 minutes. With Gunnar Björnstrand (Tomas Ericsson), Ingrid Thulin (Märta Lundberg), Max von Sydow (Jonas Persson), Gunnel Lindblom (Karin Persson), Allan Edwall (Algot Frövik), Olof Thunberg (Fredrik Blom), Elsa Ebbesen (widow), Kolbjörn Knudsen (Aronsson), Tor Borong (Johan Åkerblom), Bertha SÅnnell (Hanna Appelblad), Eddie Axberg (Johan Strand), LarsOwe Carlberg (police superintendent), Johan Olafs (man), Ingmari Hjort (Persson's daughter), Stefan Larsson (Persson's son), LarsOlof Andersson and Christer Öhman (boys).
Pastor Tomas Ericsson performs morning service in Mitsunda Church. Among the communicants are Märta Lundberg, a teacher at the grammar school; Jonas Persson, a fisherman; and his wife, Karin.
Tomas has a cold. After the service Jonas and Karin visit him in the vestry. Karin tells him about her husband's anxiety. They decide that Tomas should have a private conversation with Jonas later. Märta Lundberg enters and asks Tomas if he has read her letter. She wants to help him, but he rebuffs her. When she has left, he reads the letter. The fisherman Jonas returns. Tomas speaks to him about his own relation to God, trying to console Jonas. A little while later a woman brings word that Jonas has shot himself.
Tomas goes to the site of the suicide with Märta. Then they continue on to the school where she lives and works. Again Tomas rejects her concern and her love. They go to the fisherman's home. Tomas offers the widow comfort and support but feels that he stands outside the circle of the bereaved family. On the way back Tomas tells Märta that he became a clergyman to please his parents.
They arrive at Frostnäs for the second service of the day. The church caretaker, Algot Frövik, speaks to Tomas about his suffering. The organist, Blom, tells Märta about Tomas's dead wife. When the church bells call the congregation to the church, only four people come. Despite that, Tomas decides to hold the service.
1962
THE SILENCE (Tystnaden)
Production/distribution: Svensk Filmindustri. Director, screenplay: Ingmar Bergman. Producer: Allan Ekelund. Cinematography: Sven Nykvist. Music: Ivan Renliden. Art direction: P. A. Lundgren. Editing: Ulla Ryghe. Premiere: September 23, 1963, at Röda Kvarn and Fontänen. Length: 95 minutes. With Ingrid Thulin (Ester), Gunnel Lindblom (Anna), Jörgen Lindstrom (Johan), Håkan Jahnberg (room service waiter), Birger Malmsten (bar waiter), “Eduardinis" (performing dwarfs), Eduardo Gutierrez (the dwarfs' impressario), Lissi Alandh (woman in variety theater), Leif Forstenberg (man in variety theater), Nils Waldt (cashier), Birger Lensander (caretaker), Eskil Kalling (bar owner), K. A. Bergman (newspaper vendor), Olof Widgren (the old one).
Traveling home from their vacation, two sisters, Anna and Ester, and Anna's son, Johan, are forced to stop at a hotel in Timoka, a foreign city in a foreign country, because Ester is gravely ill. The hotel is large, but there are few guests. Among them is a troupe of dwarfs performing at a nearby cabaret. The language of the country is one that not even Ester, who is a translator, understands.
Johan goes exploring in the twilight-gray hotel corridors — the baroque-style hotel was built at the turn of the century. Anna goes out and walks through the warm streets. She makes eye contact with a waiter in a bar. At a variety show she sees a couple in the audience making love. The sight arouses her, and she returns to the bar and the waiter.
With Jörgen Lindström and Märklin miniature train for The Silence.
The bedridden Ester is alone. An old waiter assists her. When Anna returns, Ester senses that something has happened and confronts her sister. Anna leaves to keep her date with the waiter. Johan tells Ester that he has seen his mother enter a room with a stranger. Ester looks for and finds Anna, but her sister turns away from her toward her silent lover.
Ester breaks down. That same day Anna continues on her journey with Johan, leaving Ester to fend for herself. On a piece of paper, Ester has written a few words to Johan in the foreign language.
1963
ALL THESE WOMEN/NOW ABOUT THESE
WOMEN (För att inte tala om alia dessa kvinnor)
Production/distribution: Svensk Filmindustri. Director: Ingmar Bergman. Producer: Allan Ekelund. Screenplay: Ingmar Bergman and Erland Josephson. Cinematography: Sven Nykvist (color). Music: Erik Nordgren. Art direction: P. A. Lundgren. Editing: Ulla Ryghe. Premiere: June 15, 1964, at Röda Kvarn. Length: 80 minutes. With Jarl Kulle (Cornelius), Bibi Andersson (Humlan), Harriet Andersson (Isolde), Eva Dahlbeck (Adelaide), Karin Kavli (Madame Tussaud), Gertrud Fridh (Traviata), Mona Malm (Cecilia), Barbro Hiort af Ornäs (Beatrice), Allan Edwall (Jillker), Georg Funkquist (Tristan), Carl Billquist (young man), Jan Blomberg (British radio reporter), Göran Graff man (French radio reporter), Gösta Prüzelius (Swedish radio reporter), Jan-Olof Strandberg (German radio reporter), Ulf Johanson, Axel Düberg, and Lars-Eric Liedholm (men dressed in black), Lars-Owe Carlberg (chauffeur), Doris Funcke and Yvonne Igell (waitresses).
1963/65
DANIEL
An episode in the collective film Stimulantia. Production/distribution: Svensk Filmindustri. Director, screenplay, cinematography: Ingmar Bergman. Editing: Ulla Ryghe. Premiere: March 28, 1967, at Spegeln. With Daniel Sebastian Bergman and Käbi Laretei.
1965
PERSONA
Production/distribution: Svensk Filmindustri. Director, screenplay: Ingmar Bergman. Producer: Lars-Owe Carlberg. Cinematography: Sven Nykvist. Music: Lars Johan Werle. Art direction: Bibi Lindström. Editing: Ulla Ryghe. Premiere: October 18, 1966, at Spegeln. Length: 85 minutes. With Bibi Andersson (Alma), Liv Ullmann (Elisabet Vogler), Margaretha Krook (physician), Gunnar Björnstrand (Mr. Vogler), Jörgen Lindstrom (boy).
After a performance, the actress Elisabet Vogler totally stops communicating with anyone. She is in a hospital. She is not ill but has chosen to enter an existence of complete silence. Together with her nurse, Alma, she goes to stay on an island. The two women confront each other in different situations and grow closer and closer. Their interaction becomes a game of identities. They slide toward — and into — each other.
1966
HOUR OF THE WOLF(Vargtimmen)
Production/distribution: Svensk Filmindustri. Director, screenplay: Ingmar Bergman. Producer: Lars-Owe Carlberg. Cinematography: Sven Nykvist. Music: Lars Johan Werle. Art direction: Marik Vos-Lundh. Editing: Ulla Ryghe. Premiere: February 19, 1968, at Röda Kvarn. Length: 90 minutes. With Liv Ullmann (Alma), Max von Sydow (Johan), Erland Josephson (Baron von Merkens), Gertrud Fridh (Corinne von Merkens), Gudrun Brost (old Mrs. von Merkens), Bertil Anderberg (Ernst von Merkens), Georg Rydeberg (archivist Lindhorst), Ulf Johanson (curator Heerbrand), Naima Wifstrand (woman with hat), Ingrid Thulin (Veronica Vogler), Lenn Hjortzberg (orchestra conductor Kreisler), Agda Helin (maid), Mikael Rundquist (boy in dream sequence), Mona Seilitz (corpse in morgue), Folke Sundquist (Tamino in The Magic Flute).
The artist Johan Borg and his wife, Alma, live on a rocky island. Johan suffers from nightmares, which he depicts on the pages of his sketch pad.
A very old woman comes to visit Alma and urges her to read Johan's diary. Alma reads it and discovers that Johan has met a woman from his past, Veronica Vogler, on the island. Alma also finds out that they have been invited to Baron von Merken's castle. At the castle Alma sees people who look just like the demons Johan has drawn in his sketch pad. During the evening the archivist Lindhorst shows one of the guests at the castle a scene from Mozart's The Magic Flute with the marionette theater.
On the way home, Alma tells Johan that she has read his diary. He answers by confessing that he has killed a boy on a cliff ridge, the boy having enticed and provoked him. Johan gets a message that he may meet with Veronica Vogler. He returns to the castle where the demons have gathered to revile him. Veronica is lying dead in a coffin in one of the rooms. He caresses her body and she comes alive. With the demons as scornful witnesses, she offers him her love. Johan runs off, chased by the demons. Alma, whom Johan has wounded with a pistol shot, is looking for Johan. She finds only the satchel in which he keeps his diary.
1967
SHAME/THE SHAME(Skammen)
Production: Svensk Filmindustri, Cinematograph. Distribution: Svensk Filmindustri. Director, screenplay: Ingmar Bergman. Producer: Lars-Owe Carlberg. Cinematography: Sven Nykvist. Art direction: P. A. Lundgren. Editing: Ulla Ryghe. Premiere:September 29, 1968, at Spegeln. Length: 103 minutes. With Liv Ullmann (Eva Rosenberg), Max von Sydow (Jan Rosenberg), Gunnar Björnstrand (Colonel Jacobi), Birgitta Valberg (Mrs. Jacobi), Sigge Fürst (Filip), Hans Alfredson (Lobelius), Willy Peters (elderly officer), Per Berglund (soldier), Vilgot Sjöman (interviewer), Ingvar Kjellson (Oswald), Rune Lindström (fat man), Frank Sundstrom (interrogator), Frej Lindqvist (stooping man), Ulf Johanson (physician), Björn Thambert (Johan), Gösta Prüzelius (vicar), Karl-Axel Forssberg (secretary), Bengt Eklund (guard), Åke Jornfalk (man on death row), Jan Bergman (Jacobi's chauffeur), Stig Lind-berg (physician's assistant).
With Liv Ullmann and Max von Sydow in Shame.
Eva and Jan are musicians. They have retired to an island after disbanding their orchestra. War rages on the mainland.
They go into town to sell berries, and on the way they meet Filip, a fisherman, and the mayor, Colonel Jacobi. Invading troops have landed, and a resistance on the island is being organized. Eva and Jan visit their friend, the antique store owner Lobelius. When they return home, Eva tells Jan of her desire to have a child. The war comes closer; bombs are falling. Jan and Eva try to escape but are taken prisoners. Jan is questioned by the enemy. He is deathly afraid.
The island's defense drives off the invaders. Suspected collaborators are brought to a school building and interrogated. Colonel Jacobi frees Jan and Eva. Jacobi seeks Eva's love, then gives her his life savings. He is arrested as a collaborator with the enemy. Jan takes possession of Eva's money and refuses to help Colonel Jacobi. Having been given the order by the fisherman Filip, he executes the colonel.
Filip's men search in vain for the money Eva received from Jacobi. Then they burn down Jan and Eva's house. In a greenhouse the couple encounter a young deserter, intending to escape from the island. Jan shoots him, and using Jacobi's money, he buys fares for himself and Eva on a refugee boat. Far out to sea the boat gets stuck in a wide-reaching cluster of drifting soldiers' corpses.
1967
THE RITUAL/THE RITE (Riten)
Production: Cinematograph. Director, screenplay: Ingmar Bergman. Producer: Lars-Owe Carlberg. Cinematography: Sven Nykvist. Art direction, costumes: Mago (Max Goldstein). Editing: Siv Kanälv. Premiere: March 25, 1969, on TV. Length: 72 minutes. With Ingrid Thulin (Thea Winkelmann), Anders Ek (Sebastian Fischer), Gunnar Björnstrand (Hans Winkelmann), Erik Hell (Judge Ernst Abrahamsson), Ingmar Bergman (clergyman).
Three internationally famous performance artists — Hans Winkelmann, Thea Winkelmann, and Sebastian Fischer — have had one of their stage numbers censored and reported. They are called for an inquiry by the investigatory judge Ernst Abrahamsson. Thea Winkelmann had been married to another member of the company, who was killed during a violent argument with Winkelmann. Thea has since married Hans Winkelmann.
In the examination room the judge first meets with all three of them, then speaks with them one by one. Between these scenes, the artists are together, two at a time — Sebastian and Thea, Thea and Hans, and Hans and Sebastian. In the last scene the three perform the staged ritual for the judge, who suffers a heart attack.
1968
THE PASSION OF ANNA/A PASSION (En passion)
Production: Svensk Filmindustri, Cinematograph. Distribution: Svensk Filmindustri. Director, screenplay: Ingmar Bergman. Producer: Lars-Owe Carlberg. Cinematography: Sven Nykvist (color). Art direction: P. A. Lundgren. Editing: Siv Kanalv. Premiere: November 10, 1969, at Spegeln. Length: 101 minutes. With Max von Sydow (Andreas Winkelman), Liv Ullmann (Anna Fromm), Bibi Andersson (Eva Vergérus), Erland Josephson (Elis Vergérus), Erik Hell (Johan Andersson), Sigge Fürst (Verner), Svea Hoist (his wife), Annika Kronberg (Katarina), Hjördis Petterson (Johan's sister), Lars-Owe Carlberg and Brian Wikstrom (policemen), Barbro Hiort af Ornäs, Malin Ek, Britta Brunius, Brita Öberg, and Marianne Karlbeck (women in dream sequence).
Andreas Winkelman is repairing the roof of his house. He lives alone on an island. Three mock suns can be seen in the sky.
Andreas meets Johan, a poor recluse. Anna Fromm, another islander, comes to use Andreas's telephone. Anna forgets her purse at his house. He reads a letter that reveals that Anna's husband wants to leave her. Anna Fromm is living at the house of Elis Vergérus, a successful architect, and his wife, Eva. During a dinner party, Andreas gets to know them. Elis's hobby is to collect photographs of people. Elis says that Eva was the mistress of Anna's husband. Anna tries to convince everyone of her perfect marriage. When Elis is away on business, Eva comes to Andreas and stays with him all night. Andreas finds out that Anna's husband and son have been killed in a traffic accident when Anna was driving.
A farmer on the island finds a number of his sheep fatally wounded. Suspicion falls on Johan, the recluse. Elis helps Andreas with his business and discovers why he has turned his back on society.
Anna and Andreas begin to live together. Anna tells him about her marriage and the accident. She tries to get Andreas to admit to his relationship with Eva. The police find Johan. He has hanged himself.
Violence breaks out in Andreas and Anna's relationship. A fire engine drives past. Somebody has set fire to a cattle shed. Anna picks up Andreas by the fire. In the car he asks her to give him back his solitude. Their relationship has been based on lies. Andreas gets out of the car. He doesn't know which direction to take and collapses on the road.
1969
THE FÅRÖ DOCUMENT 1969
(Fårödokument 1969)
Production: Cinematograph. Director: Ingmar Bergman. Producer: Lars-Owe Carlberg. Cinematography: Sven Nykvist. Editing: Siv Lundgren-Kanälv. Premiere: January 1, 1970, on TV. Length: 78 minutes. With Ingmar Bergman as the reporter, and actual inhabitants of Få rö.
1969/70
THE RESERVATION (Reservatet)
Director: Jan Molander. Screenplay: Ingmar Bergman. Producers: Bernt Callenbo and Hans Sackemark. Editing: Inger Burman (color). Art direction: Bo Lindgren and Henny Noremark. Premiere: October 28, 1970, on TV. Length: 95 minutes. With Gunnel Lindblom (Anna), Per Myrberg (Andreas), Erland Josephson (Elis), Georg Funkquist (the father), Toivo Pawlo (Albert), Elna Gistedt (Berta), Erik Hell (director general), Göran Graffman (Bauer), Borje Ahlstedt (Feldt), Sif Ruud (Miss Prakt), Barbro Larsson (Karin), Helena Brodin (Nurse Ester), Olof Bergström (Dr. Farman), Gun Arvidsson (Magda Farman), Catherine Berg (Elis's wife), Claes Thelander (Fredrik Sernelius), Irma Christenson (Inger Sernelius), Leif Liljeroth (Sten Ahlman), Gun Andersson (Petra Ahlman), Per Sjöstrand (Count Albrekt), Margaretha Byström (Karin Albrekt).
1970
THE TOUCH (Beröringen)
Production: Cinematograph, ABC Pictures (New York). Distribution: Svensk Filmindustri. Director, screenplay: Ingmar Bergman. Producer: Lars-Owe Carlberg. Cinematography: Sven Nykvist (color). Music: Carl Michael Bellman, William Byrd, Peter Covent. Art direction: P. A. Lundgren. Editing: Siv Lundgren. Premiere: August 30, 1971, at Spegeln. Length: 115 minutes. With Elliott Gould (David Kovac), Bibi Andersson (Karin Vergérus), Max von Sydow (Andreas Vergérus), Sheila Reid (Sara, David's sister), Barbro Hiort af Ornäs (Karin's mother), Åke Lindström (Dr. Holm), Mimmo Wåhlander (nurse), Elsa Ebbesen (head of hospital kitchen), Staffan Hallerstam (Anders Vergérus), Maria Nolgård (Agnes Vergérus), Karin Nilsson (Vergérus's neighbor), Erik Nyhlén (archaeologist), Margaretha Byström (Andreas Vergérus's secretary), Alan Simon (curator at museum), Per Sjöstrand (curator), Aino Taube (woman on staircase), Ann-Chris tin Lobråten (museum worker), Carol Zavis (flight attendant), Dennis Gotobed (British civil servant), Bengt Ottekil (bellhop).
1971
CRIES AND WHISPERS (Viskningar och rop)
Production: Cinematograph, the Film Institute, Liv Ullmann, Ingrid Thulin, Harriet Andersson, Sven Nykvist. Distribution: Svensk Filmindustri. Director, screenplay: Ingmar Bergman. Producer: Lars-Owe Carlberg. Cinematography: Sven Nykvist (color). Art direction: Marika Vos. Editing: Siv Lundgren. Premiere: March 5, 1973, at Spegeln. Length: 91 minutes. With Harriet Andersson (Agnes), Kari Sylwan (Anna), Ingrid Thulin (Karin), Liv Ullmann (Maria/Maria's mother), Anders Ek (Pastor Isak), Inga Gill (the storyteller), Erland Josephson (David, a physician), Henning Moritzen (Joakim, a cabinet member and Maria's husband), Georg Årlin (Fredrik, a diplomat and Karin's husband), Linn Ullmann (Maria's daughter), Greta and Karin Johansson (mortician's helpers), Rosanna Mariano (young Agnes), Malin Gjörup (Anna's daughter), Lena Bergman (young Maria), Ingrid von Rosen, Ann-Christin Lobråten, Börje Lundh, and Lars-Owe Carlberg (audience members at picture exhibit), Monika Priede (young Karin).
With the ringing of bells and red colors, with cries and whispers, the day dawns in a residential park. By Agnes's sickbed, her sister Maria has kept vigil all night. Agnes awakens. She writes in her diary. Anna, the servant, serves coffee. The third sister, Karin, enters the room. The physician, David, makes a house call. He tells Karin that the end is near. When David is ready to go, Maria calls for him. They fall into each other's arms.
Thinking about color with Sven Nykvist during the filming of Cries and Whispers.
Flashback: Anna's daughter has taken ill, and Maria has called the doctor. After his examination of the child, Maria invites David to stay for a meal. Her husband, Joakim, is staying in town, and Agnes and Karin are in Italy. The guest room is readied for David; Maria comes to him. In the morning she tells her husband that she called the doctor. When she later knocks on the door to his office, she finds him with a knife in his chest. He begs her to help him.
In the present, it is now evening. Agnes calls for Anna, who comes to her bed and crawls in with her. Agnes is in pain. Anna consoles her. During the night Anna awakens the sisters. Agnes has taken a turn for the worse. The sisters wash her and change her nightgown. She falls asleep while Maria reads to her from The Pickwick Papers. Agnes's death struggle ensues. Anna stays close to her. In the adjacent room her sisters Karin and Maria wait. A priest comes to pray for Agnes's soul.
Flashback: Karin and her husband, Fredrik, are staying temporarily at the manor (where they are now). They sit at the dinner table, silent. Karin breaks a wine glass. Karin gets ready for bed. Alone, she wounds herself by putting a sliver of glass — to damage and be damaged — inside her vagina. She walks into the bedroom to her husband.
In the present, Maria is caressing her sister Karin's cheek. Reluctantly Karin lets her do it. Then she accuses Maria of being false.
In the dark house Anna hears screams. She goes in to Agnes, who says, “I'm dead but I can't leave you.” In icy terror, her two sisters reject her. Anna stays with the crying Agnes.
After the funeral Karin and Maria get ready to leave. Anna remains, now alone in the house. She reads in Agnes's diary about her gratefulness toward life.
1972
SCENES FROM A MARRIAGE
(Scener ur ett äktenskap)
Production: Cinematograph. Director, screenplay: Ingmar Bergman. Producer: Lars-Owe Carlberg. Cinematography: Sven Nykvist (color). Art direction: Björn Thulin. Editing: Siv Lundgren. Part 1: “Innocence and Panic” — premiere April 11, 1973, on TV. Part 2: “The Art of Sweeping Things under the Carpet” — premiere April 18, 1973, on TV. Part 3: “Paula” — premiere April 25, 1973, on TV. Part 4: “The Valley of Tears” — premiere May 2, 1973, on TV. Part 5: “The Illiterates” — premiere May 9, 1973, on TV. Part 6: “In the Middle of the Night in a Dark House Somewhere in the World” — premiere May 16, 1973, on TV. Length: Around 49 minutes per episode. A theatrical version was created for the United States and other parts of the world in 1974; length, 155 minutes. With Liv Ullmann (Marianne), Erland Josephson (Johan), Bibi Andersson (Katarina), Jan Malmsjö (Peter), Anita Wall (Mrs. Palm), Rosanna Mariano and Lena Bergman (the children Eva and Karin), Gunnel Lindblom (Eva), Barbro Hiort af Ornäs (Mrs. Jacobi), Wenche Foss (mother), Bertil Norströ m (Arne).
1974
THE MAGIC FLUTE (Tröllflojten)
Director, screenplay: Ingmar Bergman, based on Wolfgang Amadeus Mozart's opera Die Zauberflöte with a libretto by Emanuel Schikaneder. Producer: Måns Reuterswärd. Cinematography: Sven Nykvist (color). Music: The Radio Choir, Swedish Radio's Symphony Orchestra, and conductor Eric Ericson. Art direction: Henny Noremark. Editing: Siv Lundgren. Premiere: January 1, 1975, on TV; shown at Röda Kvarn movie theater October 4, 1975. Length: 135 minutes. With Jösef Kostlinger (Tamino), Irma Urrila (Pamina), Håkan Hagegård (Papageno), Elisabeth Erikson (Papagena), Britt-Marie Aruhn (first woman), Kirsten Vaupel (second woman), Birgitta Smiding (third woman), Ulrik Cold (Sarastro), Birgit Nordin (queen of the night), Ragnar Ulfung (Monostatos), Erik Saéden (speaker), Gösta Prüzelius (first priest), Ulf Johanson (second priest), Hans Johansson and Jerker Arvidson (guards in the House of Trials), Urban Malmberg, Ansgar Krook, and Erland von Heijne (boys), Lisbeth Zachrisson, Nina Harte, Helena Högberg, Elina Lehto, Lena Wennergren, Jane Darling, and Sonja Karlsson (maidens), Einar Larsson, Siegfried Svensson, Sixten Fark, SvenEric Jacobsson, Folke Johnsson, Gösta Backelin, Arne Hendriksen, Hans Kyhle, and Carl Henric Qvarfordt (priests).
1975
FACE TO FACE (Ansikte mot ansikte)
Production: Cinematograph. Director, screenplay: Ingmar Bergman. Producer: Lars-Owe Carlberg. Cinematography: Sven Nykvist (color). Music: Wolfgang Amadeus Mozart. Art direction: Anne Hagegård, Peter Kropénin. Editing: Siv Lundgren. Part 1: “The Departure” — premiere April 28, 1976, on TV. Part 2: “The Border”— premiere May 5, 1976, on TV. Part 3: “The Twilight Land” — premiere May 12, 1976, on TV. Part 4: “The Return” — premiere May 19, 1976, on TV. Length: 50 minutes per episode. A theatrical version was created for the United States and other parts of the world; length, 135 minutes. With Liv Ullmann (Dr. Jenny Isaksson), Erland Josephson (Dr. Tomas Jacobi), Aino Taube (grandmother), Gunnar Björnstrand (grandfather), Sif Ruud (Elisabeth Wankel), Sven Lindberg (Erik, Jenny's husband), Tore Segelcke (woman), Kari Sylwan (Maria), Ulf Johanson (Helmuth Wankel), Gösta Ekman (Mikael Stromberg), Kristina Adolphson (nurse Veronica), Marianne Aminoff (Jenny's mother), Gösta Prüzelius (Jenny's father), Birger Malmsten and Göran Stangertz (rapists), Rebecca Pawlo and Lena Olin (saleswomen).
Jenny is a psychologist, married to a gifted colleague, and the mother of a teenage daughter. Her husband is at a convention in Chicago and her daughter at horseback-riding camp. Jenny herself is going to stay with her grandparents in their old apartment and looks forward to a calm, peaceful work period.
With Tamino (Josef Köstlinger) in The Magic Flute.
The first night at her grandparents' she is awakened by a stranger, a woman, who takes shape in the room and tries to tell her something.
The following day Jenny speaks to a colleague, Dr. Wankel, about Maria, a case at the psychiatric clinic. Jenny has a violent confrontation with Maria. She then goes to a party given by Dr. Wankel's wife. There she meets Dr. Tomas Jacobi, a relative of her patient Maria. They have dinner together and then go to Tomas's house. In the morning she is awakened by a phone call and is asked to return to her empty house.
There she finds Maria and two men. One of these men tries to rape Jenny. Thoroughly shaken, she calls Tomas Jacobi. They meet for a concert the same night and return to his house. Jenny takes a sleeping pill, and when they go to bed, Jenny tells Tomas about the attempted rape. She begins to laugh. The laughter transforms itself into convulsive sobs. Tomas drives her to her grandparents' apartment.
When her grandmother awakens her, she finds she has slept more than twenty-four hours. It is Saturday morning, and her old grandparents are going to stay with friends for the weekend. Jenny falls asleep again and is awakened Sunday morning by the church bells ringing. She calls Tomas, and when she hangs up, the strange woman appears in her room again. Frightened, Jenny dictates a letter to her husband on a tape recorder. Then she swallows all her sleeping pills.
Jenny is reborn forty-three hours later in a tempest of cramps and screams in an intensive care ward. When she dozes off again, she moves around in her dreams. She awakens, finding Tomas by her side. She dreams about her dead parents. When she awakens the next time, her husband, Erik, is with her. He has come directly from the airport. They talk, exhausted by the emotional upheaval and sorrow. Jenny sinks back into her dreams.
Jenny tells Tomas about her childhood. She loses consciousness again and enters new dreams. She attends her own funeral. Tomas says good-bye. Jenny is visited by her daughter, Anna. She tells her daughter that she has tried to take her own life. They speak to each other but lack real communication.
The same day Jenny returns to her grandparents' apartment. She watches the intimacy between these two old people in their slow movement toward death. During a walk she encounters the woman again. This time she helps her cross the street.
1976
THE SERPENT'S EGG
(Ormens ägg; Das Schlangenei)
Production: Rialto Film (Berlin), Dino De Laurentiis Corp. (Los Angeles). Distribution: Fox-Stockholm. Director, screenplay: Ingmar Bergman. Producer: Dino De Laurentiis. Cinematography: Sven Nykvist (color). Music: Rolf Wilhelm. Art direction: Rolf Zehetbauer. Editing: Petra von Oelffen. Premiere: October 28, 1977, at Röda Kvarn. Length: 119 minutes. With Liv Ullmann (Manuela Rosenberg), David Carradine (Abel Rosenberg), Gert Fröbe (police commissioner Bauer), Heinz Bennent (Hans Vergérus), James Whitmore (priest), Glynn Turman (Monroe), Georg Hartmann (Hollinger), Edith Heerdegen (Mrs. Holle), Kyra Mladeck (Miss Dorst), Fritz Strassner (Dr. Soltermann), Hans Quest (Dr. Silbermann), Wolfgang Weiser (civil servant), Paula Braend (Mrs. Hemse), Walter Schmidinger (Solomon), Lisi Mangold (Mikaela), Grischa Huber (Stella), Paul Bürks (cabaret comedian), Isolde Barth, Rosemarie Heinikel, Andrea L'Arronge, and Beverly McNeely (girls in uniform), Toni Berger (Mr. Rosenberg), Erna Brunell (Mrs. Rosenberg), Hans Eichler (Max), Harry Kalenberg (court physician), Gaby Dohm (woman with baby), Christian Berkel (student), Paul Burian (guinea pig), Charles Regnier (physician), Giinter Meisner (prisoner), Heide Picha (wife), Giinter Malzacher (husband), Hubert Mittendorf (consoler), Hertha von Walther (woman in street), Ellen Umlauf (hostess), Renate Grosser and Hildegard Busse (prostitutes), Richard Bohne (policeman), Emil Feist (“the greedy one”), Heino Hallhuber (“the bride”), Irene Steinbeiser (“the groom”).
Berlin, November 1923. Abel Rosenberg arrives at a pension in the evening and discovers that his brother, Max, has shot himself. Abel, Max, and Max's wife, Manuela, have been performing as a trapeze trio in the circus.
The following day Abel is interrogated about Max's suicide by police commissioner Bauer. In the evening Abel goes to the cabaret where Manuela performs and tells her what has happened to Max. He meets Hans Vergérus, a scientist whom he knew when they both were young. Abel takes Manuela home. Manuela insists that she has an office job, but Abel discovers that her workplace is a bordello. Bauer brings Abel to the morgue to identify a woman. Abel becomes extremely upset but is let go when Manuela arrives. Abel and Manuela spend their first night together in an apartment that Vergérus has found for them.
They begin working at a clinic that is run by Vergérus, Abel in the archives, Manuela in the laundry. The files in the archives contain reports of Vergérus's experiments with human beings. Abel finds Manuela dead in their bed. In rage and sorrow he crushes a mirror and discovers a hidden camera behind it. When Bauer arrives with his men, Vergérus takes his life by swallowing poison.
Abel awakens in prison. Bauer offers him safe passage to Switzerland and the circus he worked for earlier. On his way to the railway station, Abel escapes the guards. He is swallowed up by the crowds of people.
1977
AUTUMN SONATA (Höstsonaten; Herbstsonate)
Production: Personafilm (Munich). Distribution: Svensk Filmindustri. Director, screenplay: Ingmar Bergman. Producer: Katinka Faragó. Cinematography: Sven Nykvist (color). Art direction: Anna Asp. Editing: Sylvia Ingemarsson. Premiere: October 8, 1978, at Spegeln. Length: 93 minutes. With Ingrid Bergman (Charlotte), Liv Ullmann (Eva), Lena Nyman (Helena), Halvar Björk (Viktor), Marianne Aminoff (Charlotte's secretary), Erland Josephson (Josef), Arne Bang-Hansen (Uncle Otto), Gunnar Björnstrand (Paul), Georg Løkeberg (Leonardo), Mimi Pollak (piano teacher), Linn Ullmann (young Eva).
Charlotte is an internationally renowned pianist. She has two daughters: Eva and Helena. Helena has been severely handicapped for many years. Eva, the older of the two daughters, has lost her only child in a drowning accident. She is married to Viktor, the pastor at a small country church.
Charlotte is experiencing great sorrow because her friend Leonardo, also a musician, has died after a long illness. Eva, who has not seen her mother in almost seven years, writes to her when she hears about Leonardo's death and asks her to come for a visit at the parsonage.
Charlotte arrives. She immediately becomes very upset upon discovering that Helena, whom she believed to be in an institution, is in fact being cared for by Viktor and Eva. She overcomes this deep shock only with difficulty. During their polite talk, Charlotte and Eva feel memories and humiliations reawaken. The dam bursts during a late night conversation between mother and daughter. When things calm down, Charlotte hastily leaves her two daughters to return to her music and her solitude. In the parsonage Eva and Viktor continue to nurse their quiet marriage.
1977/79
THE FÅRÖ DOCUMENT 1979
(FÅrödokument 1979)
Production: Cinematograph, Swedish Radio-TV Channel 2 1977/ 79. Director: Ingmar Bergman. Producer: Lars-Owe Carlberg. Cinematography: Arne Carlsson (color). Music: Svante Pettersson, Sigvard Huldt, Dag and Lena, Ingmar Nordströms, Strix Q, Rock de Luxe, Ola and the Janglers. Editing: Sylvia Ingemarsson. Premiere: December 24, 1979, on TV. Length: 103 minutes. With the inhabitants of FÅrö Island.
1979/80
FROM THE LIFE OF THE MARIONETTES (Ur
Marionetternas liv; Aus dem Leben der Marionetten)
Production: Personafilm (Munich). Distribution: Sandrews. Director, screenplay: Ingmar Bergman. Producers: Horst Wendlandt and Ingmar Bergman. Cinematography: Sven Nykvist (black and white/color). Music: Rolf Wilhelm. Art direction: Rolf Zehetbauer. Editing: Petra von Oelffen. Premiere: January 24, 1981, at Grand. Length: 104 minutes. With Robert Aztorn (Peter Egerman), Christine Buchegger (Katarina Egerman), Martin Benrath (Mogens Jensen), Rita Russek (Ka), Lola Muethel (Cordelia Egerman), Walter Schmidinger (Tim), Heinz Bennent (Arthur Brenner), Ruth Olafs (nurse), Karl Heinz Pelser (interrogator), Gaby Dohm (secretary), Toni Berger (guard).
Peter and Katarina Egerman seem to be a well-adjusted married couple; he is a businessman, she a fashion executive. But on a deeper level they do not communicate. For a couple of years now, Peter has had a recurring dream of killing his wife.
He tells his psychiatrist, Mogens, about this obsession. Mogens, who has a sexual relationship with Katarina, does nothing. Peter makes a halfhearted suicide attempt. He goes to a porno club where a prostitute ignites his desire to kill. In a moment of psychological short-circuiting, Peter chooses a substitute victim.
In brief interviews after the catastrophe, those who knew Peter offer their explanations for what happened. Peter now lives in a clinic where he has imprisoned himself in silence.
1981/82
FANNY AND ALEXANDER (Fanny och Alexander)
Production: Cinematograph for the Film Institute, Swedish TV Channel 1, Gaumont (Paris),Personafilm (Munich), Tobis Filmkunst (Berlin). Distribution: Sandrews. Director, screenplay: Ingmar Bergman. Producer: Jörn Donner. Cinematography: Sven Nykvist (color). Art direction: Anna Asp. Editing: Sylvia Ingemarsson. Premieres: December 17,1982, at Astoria, length, 197 minutes; and December 17, 1983, at Grand 2, length, 312 minutes. With Pernilla Allwin (Fanny Ekdahl), Bertil Guve (Alexander), Börje Ahlstedt (Carl Ekdahl), Harriet Andersson (Justina, the kitchen maid), Pernilla Östergren (Maj, the nanny), Mats Bergman (Aron), Gunnar Björnstrand (Filip Landahl), Allan Edwall (Oscar Ekdahl), Stina Ekblad (Ismael), Ewa Froling (Emilie Ekdahl), Erland Josephson (Isak Jacobi), Jarl Kulle (Gustav Adolf Ekdahl), Kabi Laretei (Aunt Anna), Mona Malm (Alma Ekdahl), Jan Malmsjö (Bishop Edvard Vergérus), Christina Schollin (Lydia Ekdahl), Gunn Wållgren (Helena Ekdahl), Kerstin Tidelius (Henrietta Vergérus), Anna Bergman (Hanna Schwartz), Sonya Hedenbratt (Aunt Emma), Svea Hoist-Widén (Ester), Majlis Granlund (Vega), Maria Granlund (Petra), Emilie Werkö(Jenny), Christian Almgren (Putte), Angelica Wallgren (Eva), Siv Ericks (Alida), Inga Alenius (Lisen), Kristina Adolphson (Siri), Eva von Hanno (Berta).
With the children in Fanny and Alexander.
It is Christmas in the home of the Ekdahl family. The year is 1907 in a Swedish city with a cathedral and a university.
The head of the family is Helena Ekdahl. She was once an actress at the theater still run by the family. Her son Oscar is now head of the theater; his brother Gustav Adolf owns a restaurant, and his brother Carl is a professor with debts. Fanny and Alexander are the children of Oscar and Emilie Ekdahl. Oscar takes ill while rehearsing his part as the ghost in Hamlet. He dies surrounded by his family. The city's bishop, Edvard Vergérus, officiates at the funeral and consoles the young widow, Emilie. This association eventually leads to marriage. In the bishop's home, life is ascetic to the extreme.
Alexander hates his stepfather and revolts. The bishop responds with his idea of love and authority: strict discipline and harsh punishment. When the rest of the Ekdahl family becomes aware of the suffering of Emilie and her children, they seek the assistance of the Jewish antique dealer Isak Jacobi in order to rescue the children from Vergérus's clutches. Vergérus's response consists of retaliations against his wife, who is pregnant. In Jacobi's antique store Alexander meets Ismael, who is kept locked up. Together they wish for the death of the bishop. He dies in flames.
Again Christmas is celebrated in the home of the Ekdahl family. Emilie has returned. She has had her baby. Another infant is christened along with hers. The father to that baby is Gustav Adolf; the mother is the young nanny, Maj. In the quiet after the celebration party, Emilie awakens Helena Ekdahl's theater ambitions with a newly published copy of Strindberg's A Dream Play.
1983
AFTER THE REHEARSAL (Efter repetitionen)
Production: Personafilm (Munich). Director, screenplay: Ingmar Bergman. Producer: Jörn Donner. Cinematography: Sven Nykvist (color). Art direction: Anna Asp. Editing: Sylvia Ingemarsson. Premiere: April 9, 1984, on TV. Length: 70 minutes. With Erland Josephson (Henrik Vogler), Lena Olin (Anna), Ingrid Thulin (Rakel).
1985
THE BLESSED ONES (De tvåsaliga)
Director: Ingmar Bergman. Screenplay: Ulla Isaksson, based on her novel. Producers: Pia Ehrnvall and Katinka Faragó. Cinematography: Per Norén (color). Art direction: Birgitta Bensén. Premiere: February 19, 1986, on TV. Length: 81 minutes. With Harriet Andersson (Viveka Burman), Per Myrberg (Sune Burman), Christina Schollin (Annika), Lasse Poysti (Dr. Dettow), Irma Christenson (Mrs. Storm), Björn Gustafson (neighbor), Majlis Granlund (cleaning woman at school), Kristina Adolphson (nurse in psychiatric ward), Margreth Weivers, Bertil Norstrom, Johan Rabaeus, Lennart Tollén, and Lars-Owe Carlberg.
1986
DOCUMENTARY OF FANNY AND ALEXANDER
(Dokument Fanny och Alexander)
Production: Cinematograph, the Film Institute. Director, screenplay: Ingmar Bergman. Cinematography: Arne Carlsson (color). Editing: Sylvia Ingemarsson. Premiere: August 18, 1986, on TV. Length: 110 minutes.
1986
KARIN'S FACE (Karins ansikte)
Production: Cinematograph. Director, screenplay: Ingmar Bergman. Music: Kabi Laretei. Premiere: September 29, 1986, on TV. Length: 14 minutes.
1991
THE BEST INTENTIONS (Den goda viljan)
Production: Swedish TV Channel 1 Drama in association with ZDF, Channel 4, Raidus, La Sept, DR, YLE 2, NRK, RUV. Distribution: Svensk Filmindustri. Director: Bille August. Screenplay: Ingmar Bergman. Producer: Ingrid Dahlberg. Cinematography: Sven Nykvist (color). Music: Stefan Nilsson. Art direction: Anna Asp. Editing: Janus Billeskov Jansen. Premiere: June 4, 1992, at Riviera. Length: 181 minutes. With Samuel Fröler (Henrik Bergman), Pernilla August (Anna Bergman), Max von Sydow (Johan Åkerblom), Ghita Nørby (Karin Åkerblom), Lennart Hjulström (executive Nordenson), Mona Malm (Alma Bergman), Lena Endre (Frida Strandberg), Keve Hjelm (Fredrik Bergman), Bjorn Kjellman (Ernst ökerblom), Börje Ahlstedt (Carl Åkerblom), Hans Alfredson (pastor Gransjö), Lena T. Hansson (Magda Sail), Anita Björk (Queen Victoria), Elias Ringquist (Petrus Farg), Ernst Günther (Freddy Paulin), Marie Göranzon (Elin Nordenson), Bjorn Granath (Oscar Åkerblom), Gunilla Nyroos (Svea Åkerblom), Michael Segerström (Gustav Åkerblom).
Earlier shown on TV as a miniseries in four chapters: December 25, 1991, December 26, 1991, December 29, 1991, and December 30, 1991. Total length: approximately 340 minutes.
1991/1992
SUNDAY'S CHILDREN (Söndagsbarn)
Production: Sandrew Film&Theater in association with the Film Institute, Sweetland Films, Swedish TV Channel 1 Drama, Metronome Productions, Finland's Filmstiftelse, Iceland's Film Fund, Norsk Film with support of Nordisk Film&TV Fund, Eurimages/ Europåradet. Distribution: Sandrews. Director: Daniel Bergman. Screenplay: Ingmar Bergman. Producer: Katinka Faragå. Cinematography: Tony Fosberg. Music: Johann Sebastian Bach, Rune Gustafsson, Zoltán Kodály. Art direction: Sven Wichmann. Editing: Darek Hodor. Premiere: August 28, 1992, at Olympa and Biopalatset 3. Length: 121 minutes. With Thommy Berggren (father), Henrik Linnros (Pu), Lena Endre (mother), Jakob Leygraf (Dag), Anna Linnros (Lillian), Malin Ek (Märta), Marie Richardson (Marianne), Irma Christenson (Aunt Emma), Birgitta Valberg (Grandma), Börje Ahlstedt (Uncle Carl), Maria Bolme (Maj), Majlis Granlund/Birgitta Ulfsson (Lalla), Carl Magnus Dellow (jeweler), Melinda Kinnaman (woman), Per Myrberg (Ingmar), Helena Brodin (nurse Edit), Halvar Björk (Ericsson), Gunnel Gustafsson (Mrs. Berglund), Kurt Sävström (church elder), Lis Nilheim (pastor's wife), Hans Stromblad (Konrad), Bertil Norstrdm (pastor), Suzanne Ernrup (Helga Smed), Lars Rockström (Smed, the smith), Josefin Andersson (young woman).
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In 1951 Ingmar Bergman wrote and directed nine commercials for AB Sunlight for the soap Bris (Sweden's first deodorant soap). Bibi Andersson appeared in one of these.
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Ingmar Bergman directed a number of theatrical productions for television: Hjalmar Bergman's Sleeman's Coming (1957), The Venetian (1958), Olle Hedberg's Rabies (1958), August Strindberg's Storm Weather (1960) and A Dream Play (1963), as well as Moliere's School for Wives (1983).
Images was originally planned in an interview format with Lasse Bergström. The project was conceived in the summer of 1987, during the final editing of Bergman's book, The Magic Lantern. Conversations with Ingmar Bergman commenced on Fårö Island on September 28, 1988, and concluded in Stockholm on February 1, 1990. The basis for the book was the edited transcript, approximately sixty hours of conversation, from which the interviewer had deleted his questions. The text was then revised by Bergman and finally finished on June 11, 1990. Lars Åhlander selected the accompanying photographs. The filmography was compiled by Bertil Wredlund. For those films examined in detail in the book, the data were supplemented with brief descriptions of the plots, provided from material available in Swedish Filmography.
Lasse Bergström and Ingmar Bergman, Fårö, May 1990.
PHOTO CREDITS
Per B. Adolphson, Thomas Bergman, Inga Lill Bergström, John Bryson, Arne Carlsson, Cinematograph, Bo-Erik Gyberg, Harry Kampf, K. G. Kristoffersson, Lars Looschen, Vicke Malmström, Pressens Bild, Sandrew Film&Theater, Anders Svahn, Svensk Filmindustri, Swedish Film Institute, Swedish National Museum, Swedish Photo Service, Swedish Radio, Bo A. Vibenius, Max Wilén, Christian Wirsén.