1. Anonymous asked: I looked for so long before i found ur blog , it was totaly worth it . At least now i know that i'm not the only one who has a thing for the almighty bergman Stay awesome

    Yeah buddy, we’re in this team together!  Go Bergman!

  2. Ingmar Bergman and Erland Josephson


  3. Should I make more text posts (like opinion and thoughts) on this blog, or should I stick with the photos and the quotes?

  4. Yeah, tell them, Ingmar how this things work


  5. notyourordinaryghost asked: I love your blog BTW! Keep up the good work. :)

    Thank you so much, this means a lot to me and it really makes me want to keep this blog active as much as I can.


  6. notyourordinaryghost asked: Really??Ughh, I juuust loved it! Maybe give it another go? :( The only Bergman movie I didn't really adore was The Serpent's Egg. Have you seen it?

    No, I haven’t seen it yet. Maybe I’ll give Sarabande a chance again, but maybe not to soon because I really need to be in some sort of mood to be prepared to see that film again.


  7. Anonymous asked: what don't you like about sarabande ? (I haven't seen it)

    I don’t really dig the camera work and it’s sad because usually the image in a Bergman film is absolutely stunning and also, there’s a story between a father and a daughter that’s kind of disturbing. The fact that this was his last film, makes me a bit sad.


  8. I love Bergman and his films so much, but I swear I could never watch Sarabande ever again. It gives me such a bad feeling and it’s really not that good.


  9. "

    On average, people have a strange notion of what it is ‘to go to the cinema’. It is so easy to forget that film, when it is good, is an art form that ranks up there alongside theatre, painting, sculpture - any other imaginable art form. […]

    After making the rounds to three or four sold-out cinemas, you finally end up somewhere in Stockholm. Sweating, out of breath, you sink into your assigned seat. Thus you begin slinging forth a barrage of comments. I. The ticket, which you purchased in haste, cost at least 2.45 crowns. II. The film already started a while ago and you have no idea whatsoever whether or not Lady Plattfoth’s lover was married to the beautiful duchess Plums or the secretary with the long legs, the one you didn’t catch the name of. III. On the screen, the actors bear an incredible likeness to the infamous Pyramid of Cheops, with legs and feet appearing in proportion, whilst their chests, arms and heads taper out in strange distorted shapes, as you gaze up at a neck-wrenching angle. In other words, you got yourself an overpriced, lousy cinema seat.

    You are cross and annoyed as you later trot on home. If it happens to be Sunday, the doldrums set in, as in waltz a bad case of the Monday blues.


    Another piece of advice: Do not concern yourself with the actors’ names […] but rather focus on the names of the director and producer. This information offers the best insight into what the film you set out to see is all about. A good director vouches for a good film - let this be your rule of thumb. Examples: Duvivier, Carné, Capra, Lubitch [sic], Lang, Hitchcock, Cocteau, Renoir, Feyder, Borzage, Korda, Pudovkin, Chaplin, Mamolian [sic] always vouch for the fact that you can make your way to the cinema without happening upon a load of rubbish. On the other hand, all Swedish directors along with the following names provide doubtful, unreliable cinema viewing: Guitry, Sherman, Bacon, Arzner, Liebeneiner, Hathaway, van Dyke, Boleslawsky, Werker, etc.

    If you must express your distaste with a film, do as my great-grandmother - rub your squeaky boots together. Do not kiss your sweetheart unless you are sitting in the back row. Do not express all your concerns about your family, your housing situation, your future, your religious views to your companion. Those sitting in your vicinity are quite possibly interested in the film.

    — A young Bergman’s advice on how to best absorb film as an art form.

  10. "When the film was in its planning stages, it was called The Wallpaper. I wrote in my workbook: “It’s going to have a story that moves vertically, not horizontally. How the hell do you do that?” The note is from New Year’s Day 1960, and even if it was strangely expressed, I understood exactly what I meant: a film that went into an untested dimension of depth."
    — Ingmar Bergman on Through a Glass Darkly