Editing Ingmar Bergman (section)

==Biography==
===Early life===
Ernst Ingmar Bergman was born in [[Uppsala]] on 14 July 1918,{{sfn|Steene|2005|p=23}} the son of nurse Karin (née Åkerblom) and [[Lutheranism|Lutheran]] minister (and later chaplain to the [[Monarch of Sweden|King of Sweden]]) [[Erik Bergman (Lutheran minister)|Erik Bergman]]. His mother was of [[Walloons|Walloon]] descent.{{sfn|Gado|1986|p=374}}<ref>In a book published in 2011, Bergman's niece Veronica Ralston suggested that the director was not identical to the child born to Erik and Karin Bergman in July 1918. Ralston's claim was that this child would have died and been substituted for another child allegedly born to Erik Bergman in an [[Extramarital affair|extramarital relationship]]. (See [https://www.dn.se/kultur-noje/film-tv/who-was-the-mother-of-ingmar-bergman/ Who was the mother of Ingmar Bergman?] ''Dagens Nyheter'', 26 May 2011. Retrieved 28 May 2011.) The [[DNA]] evidence was weakened after the laboratory consulted by Ralston clarified that it had only been possible to extract DNA from one out of two stamps submitted for testing, and the child supposedly substituted for the newborn child of Karin Bergman was later identified as having emigrated to the US in 1923 with his adopted parents and lived there until his death in 1982 (Clas Barkman, "[https://www.dn.se/kultur-noje/nya-turer-i-mysteriet-kring-bergman/ Nya turer i mysteriet kring Bergman]", ''Dagens Nyheter'', 4 June 2011. Retrieved 8 June 2011).</ref> The Bergman family was originally from [[Järvsö]]. On his father's side, Bergman was a descendant of the noble [[Bröms]], [[Ehrenskiöld]], and [[Stockenström]] clergy families of Finnish, German, and Swedish origin. His father also descended from the German noble families {{ill|Flach (noble family)|lt=Flach|sv|Flach}} and [[de Frese]] introduced at the Swedish [[Riddarhuset]]. Bergman's paternal grandmother and maternal grandfather were cousins, making his parents second cousins. On his mother's side, he was descended from Dutch merchant Paul Calwagen, who left Holland for Sweden in the 17th century; Paul's Dutch-Swedish wife, Maria van der Hagen, was a descendant of the court painter [[Laurens van der Plas]]. Bergman's mother was also a descendant of the noble [[Tigerschiöld]] and [[Weinholz]] families, as well as the {{ill|Bure (noble family)|lt=Bure|sv|Bure (adlig släkt)}} family.<ref>{{cite web |last1=Geni.com |title=The Pedigree of Ingmar Bergman |url=https://www.geni.com/family-tree/canvas/6000000003252172731 |website=Geni.com}}</ref><ref>{{cite web |last1=Gustaf |first1=Elgenstierna |title=Genealogy of Hermanni Family |url=https://www.adelsvapen.com/genealogi/hermanni |website=Adelsvapen }}</ref>
[[File:Ingmar 86135a.jpg|thumb|left|upright=0.8|Bergman as a young man]]

Bergman grew up with his older brother [[Dag Bergman|Dag]] and younger sister [[Margareta Bergman|Margareta]] surrounded by [[religious image]]ry and discussion. His father was a [[conservative]] parish minister with strict ideas of parenting. Ingmar was locked up in dark closets for infractions such as wetting himself. "While father preached away in the pulpit and the congregation prayed, sang, or listened", Ingmar wrote in his autobiography ''Laterna Magica'', "I devoted my interest to the church's mysterious world of low arches, thick walls, the smell of [[eternity]], the coloured sunlight quivering above the strangest vegetation of [[medieval painting]]s and carved figures on ceilings and walls. There was everything that one's imagination could desire—[[angel]]s, [[saint]]s, dragons, [[prophet]]s, devils, humans..." Although raised in a devout [[Lutheran]] household, Bergman later stated that he lost his faith at age eight, and came to terms with this fact while making ''[[Winter Light]]'' in 1962.<ref>{{cite book|title=The Films of Ingmar Bergman|author=Kalin, Jesse|year=2003|page=193}}</ref> His interest in theatre and film began early; at the age of nine, he traded a set of [[tin soldier]]s for a [[magic lantern]]. Within a year, he had created a private world by playing with this toy in which he felt completely at home. He fashioned his own scenery, [[marionette]]s, and lighting effects and gave puppet productions of [[August Strindberg|Strindberg]] plays in which he spoke all the parts."<ref>{{cite news|title=Ingmar Bergman, Master Filmmaker, Dies at 89|author=Rothstein, Mervyn|newspaper=[[The New York Times]]|date=31 July 2007}}</ref><ref>For an extended discussion of the profound influence that August Strindberg's work played in Bergman's life and career, see: Ottiliana Rolandsson, ''Pure Artistry: Ingmar Bergman, the Face as Portal and the Performance of the Soul'', Ph.D. dissertation, University of California, Santa Barbara, 2010, especially chapter 3, "Bergman, Strindberg and the Territories of Imagination".</ref>

Bergman attended the [[Palmgrenska samskolan|Palmgren School]] as a teenager. His school years were unhappy,{{sfn|Steene|2005|p=33}} and he remembered them unfavourably in later years. In a 1944 letter concerning the film ''[[Torment (1944 film)|Torment]]'' (sometimes known as ''Frenzy''), which sparked debate on the condition of Swedish high schools (and which Bergman had written),{{sfn|Gado|1986|p=59}} the school's principal Henning Håkanson wrote, among other things, that Bergman had been a "problem child".<ref>{{cite book|title=Ingmar Bergman: The Life and Films of the Last Great European Director|author=Macnab, Geoffrey|publisher=I.B. Tauris|date=2009|isbn=978-0857713575}}</ref> Bergman wrote in a response that he had strongly disliked the emphasis on homework and testing in his formal schooling.

In 1934, aged 16, he was sent to Germany to spend the summer holidays with family friends. He attended a [[NSDAP|Nazi]] rally in [[Weimar]] at which he saw [[Adolf Hitler]].<ref>{{cite book|author=Vermilye, Jerry|title=Ingmar Bergman: His Life and Films|year=2001|page=6}}; see also Bergman's autobiography, ''Laterna Magica''.</ref> He later wrote in ''Laterna Magica'' (''The Magic Lantern'') about the visit to Germany, describing how the German family had put a portrait of Hitler on the wall by his bed, and that "for many years, I was on Hitler's side, delighted by his success and saddened by his defeats".<ref>Ingmar Bergman, ''The Magic Lantern'' (transl. from Swedish: ''Laterna Magica''), Chicago: University of Chicago Press, 2007; {{ISBN|978-0-226-04382-1}}.</ref> Bergman commented that "Hitler was unbelievably [[charisma]]tic. He electrified the crowd. ... The [[Nazism]] I had seen seemed fun and youthful."<ref name=":0">{{cite news |date=7 September 1999 |title=Bergman admits Nazi past |work=BBC News |url=http://news.bbc.co.uk/2/hi/entertainment/441057.stm |access-date=2022-05-14}}</ref> Bergman did two five-month stretches of mandatory military service in Sweden.<ref>Peter Ohlin. (2009.) "Bergman's Nazi Past", ''Scandinavian Studies'', '''81'''(4):437-74.</ref> He later reflected, "When the doors to the [[Nazi concentration camps|concentration camps]] were thrown open ... I was suddenly ripped of my innocence."<ref name=":0" />

Bergman enrolled at Stockholm University College (later renamed [[Stockholm University]]) in 1937, to study art and literature. He spent most of his time involved in student theatre and became a "genuine movie addict".<ref>{{cite book|author=Vermilye, Jerry|title=Ingmar Bergman: His Life and Films|year=2001|page=6}}</ref> At the same time, a romantic involvement led to a physical confrontation with his father which resulted in a break in their relationship which lasted for many years. Although he did not graduate from the university, he wrote a number of plays and an opera, and became an assistant director at a local theatre. In 1942, he was given the opportunity to direct one of his own scripts, ''Caspar's Death''. The play was seen by members of [[AB Svensk Filmindustri|Svensk Filmindustri]], which then offered Bergman a position working on scripts. He married [[Else Fisher]] in 1943.

===Film career until 1975===
[[File:Ingmar Bergman Smultronstallet.jpg|thumb|Bergman in 1957]]
Bergman's film career began in 1941 with his work rewriting scripts, but his first major accomplishment was in 1944 when he wrote the screenplay for ''[[Torment (1944 film)|Torment]]'' (a.k.a. ''Frenzy'') (''Hets''), a film directed by [[Alf Sjöberg]]. Along with writing the screenplay, he was also appointed assistant director of the film. In his second autobiographical book, ''Images: My Life in Film'', Bergman describes the filming of the exteriors as his actual film directorial debut.<ref>Ingmar Bergman, ''Images : my life in film'' (translated from the Swedish by Marianne Ruuth), London: Bloomsbury, 1994. {{ISBN|0-7475-1670-7}}.</ref> The film sparked debate on Swedish formal education. When Henning Håkanson (the principal of the high school Bergman had attended) wrote a letter following the film's release, Bergman, according to scholar Frank Gado, disparaged in a response what he viewed as Håkanson's implication that students "who did not fit some arbitrary prescription of worthiness deserved the system's cruel neglect".{{sfn|Gado|1986|p=59}} Bergman also stated in the letter that he "hated school as a principle, as a system and as an institution. And as such I have definitely not wanted to criticize my own school, but all schools."<ref>Bergman, Ingmar. in the ''Aftonbladet'' (9 October 1944) (translated from Swedish)</ref><ref>{{cite web|url=http://www.tcm.turner.com/this-month/article.html?isPreview=&id=1296451%7C1073693&name=Torment|title=Torment (1944)|author=Fristoe, Roger|publisher=Turner Classic Movies, Inc.|access-date=28 March 2017}}</ref> The international success of this film led to Bergman's first opportunity to direct a year later. During the next ten years he wrote and directed more than a dozen films, including ''[[Prison (1949 film)|Prison]]'' (''Fängelse'') in 1949, as well as ''[[Sawdust and Tinsel]]'' (''Gycklarnas afton'') and ''[[Summer with Monika]]'' (''Sommaren med Monika''), both released in 1953.

[[File:Bergman Sjostrom 1957.jpg|thumb|upright=1.2|left| Bergman and [[Victor Sjöström]] on the set of ''[[Wild Strawberries (film)|Wild Strawberries]]'' (1957)]]

Bergman first achieved worldwide success with ''[[Smiles of a Summer Night]]'' (''Sommarnattens leende'', 1955), which won for "Best poetic humour" and was nominated for the [[Palme d'Or]] at Cannes the following year. This was followed by ''[[The Seventh Seal]]'' (''Det sjunde inseglet'') and ''[[Wild Strawberries (film)|Wild Strawberries]]'' (''Smultronstället''), released in Sweden ten months apart in 1957. ''The Seventh Seal'' won a special jury prize and was nominated for the Palme d'Or at Cannes, and ''Wild Strawberries'' won numerous awards for Bergman and its star, [[Victor Sjöström]]. Bergman continued to be productive for the next two decades. From the early 1960s, he spent much of his life on the island of [[Fårö]], where he made several films.

In the early 1960s he directed three films that explored the theme of faith and doubt in God, ''[[Through a Glass Darkly (film)|Through a Glass Darkly]]'' (''Såsom i en Spegel'', 1961), ''[[Winter Light]]'' (''Nattvardsgästerna'', 1962), and ''[[The Silence (1963 film)|The Silence]]'' (''Tystnaden'', 1963). Critics created the notion that the common themes in these three films made them a trilogy or cinematic [[triptych]]. Bergman initially responded that he did not plan these three films as a trilogy and that he could not see any common motifs in them, but he later seemed to adopt the notion, with some equivocation.<ref>Stated in [[Marie Nyreröd]]'s interview series (the first part named ''Bergman och filmen'') aired on [[Sveriges Television]] Easter 2004.</ref><ref>In contrast, in 1964 Bergman had the three scripts published in a single volume: "These three films deal with reduction. ''Through a Glass Darkly''&nbsp;– conquered certainty. ''Winter Light''&nbsp;– penetrated certainty. ''The Silence''&nbsp;– God's silence&nbsp;— the negative imprint. Therefore, they constitute a trilogy." [[The Criterion Collection]] groups the films as a trilogy in a [[boxed set]]. In the 1963 documentary ''[[Ingmar Bergman Makes a Movie]]'', about the making of ''Winter Light'', supports the idea that Bergman did not plan a trilogy. In the interview with Bergman about writing the script of ''Winter Light'', and the interviews made during the shooting of it, he hardly mentions ''[[Through a Glass Darkly (film)|Through a Glass Darkly]]''. Instead, he discusses the themes of ''Winter Light'', in particular the religious issues, in relation to ''[[The Virgin Spring]]''.</ref> His [[parody]] of the films of [[Federico Fellini]], ''[[All These Women]]'' (''För att inte tala om alla dessa kvinnor'') was released in 1964.<ref>{{cite book|author=Theall, Donald F.|title=Beyond the Word: reconstructing sense in the Joyce era of technology, culture, and communication|year=1995|page=35|publisher=University of Toronto Press |isbn=9780802006301}}</ref>

''[[Persona (1966 film)|Persona]]'' (1966), starring Bibi Andersson and Liv Ullmann, is a film Bergman considered one of his most important works. While the highly experimental film won few awards, it has been considered his masterpiece. Other films of the period include ''[[The Virgin Spring]]'' (''Jungfrukällan'', 1960), ''[[Hour of the Wolf]]'' (''Vargtimmen'', 1968), ''[[Shame (1968 film)|Shame]]'' (''Skammen'', 1968) and ''[[The Passion of Anna]]'' (''En Passion'', 1969). With his cinematographer [[Sven Nykvist]], Bergman made use of a crimson color scheme for ''[[Cries and Whispers]]'' (1972), which received a nomination for the [[46th Academy Awards|Academy Award for Best Picture]].<ref>{{Cite web|url=http://www.oscars.org/oscars/ceremonies/1974|title=The 46th Academy Awards (1974) Nominees and Winners |access-date=31 December 2011|publisher=Academy of Motion Picture Arts and Sciences|url-status=live |archive-url=https://web.archive.org/web/20150315090403/http://www.oscars.org/oscars/ceremonies/1974|archive-date=15 March 2015}}</ref> He also produced extensively for Swedish television at this time. Two works of note were ''[[Scenes from a Marriage]]'' (''Scener ur ett äktenskap'', 1973) and ''[[The Magic Flute (1975 film)|The Magic Flute]]'' (''Trollflöjten'', 1975).
[[File:Ingmar Bergman & Sven Nykvist.jpg|thumb|upright=1.2|Bergman with his long-time cinematographer [[Sven Nykvist]] during the production of ''[[Through a Glass Darkly (film)|Through a Glass Darkly]]'' (1960)]]

===Tax evasion charges in 1976===
On 30 January 1976, while rehearsing [[August Strindberg]]'s ''[[The Dance of Death (Strindberg)|The Dance of Death]]'' at the [[Royal Dramatic Theatre]] in Stockholm, he was arrested by two plainclothes police officers and charged with income tax evasion. The impact of the event on Bergman was devastating. He suffered a nervous breakdown as a result of the humiliation, and was hospitalised in a state of deep depression.

The investigation was focused on an alleged 1970 transaction of 500,000 [[Swedish kronor]] (SEK) between Bergman's Swedish company ''Cinematograf'' and its Swiss subsidiary ''Persona'', an entity that was mainly used for the paying of salaries to foreign actors. Bergman dissolved ''Persona'' in 1974 after having been notified by the Swedish Central Bank and subsequently reported the income. On 23 March 1976, the special prosecutor Anders Nordenadler dropped the charges against Bergman, saying that the alleged crime had no legal basis, and added that it would be like bringing "charges against a person who has stolen his own car, thinking it was someone else's".<ref>{{Cite AV media|url=http://svtplay.se/v/1371714/oppet_arkiv/atal_mot_bergman_laggs_ned|title=Åtal mot Bergman läggs ned|trans-title=Charges against Bergman dropped |work=[[Rapport]]|publisher=[[Sveriges Television]] |format=News report|date=23 March 1976|language=sv|url-status=dead|archive-url=https://web.archive.org/web/20111121001454/http://svtplay.se/v/1371714/oppet_arkiv/atal_mot_bergman_laggs_ned|archive-date=21 November 2011}}</ref> Director General Gösta S Ekman, chief of the Swedish Internal Revenue Service, defended the failed investigation, saying that the investigation was dealing with important legal material and that Bergman was treated just like any other suspect. He expressed regret that Bergman had left the country, hoping that Bergman was a "stronger" person now when the investigation had shown that he had not done any wrong.<ref>{{Cite AV media|url=http://svtplay.se/v/1371715/oppet_arkiv/generaldirektor_om_bergmans_flykt|title=Generaldirektör om Bergmans flykt|trans-title=The Director General about Bergman's escape|work=[[Rapport]]|publisher=[[Sveriges Television]]|format=News report|date=22 April 1976|language=sv|url-status=dead |archive-url=https://web.archive.org/web/20110904225911/http://svtplay.se/v/1371715/oppet_arkiv/generaldirektor_om_bergmans_flykt|archive-date=4 September 2011}}</ref>

Although the charges were dropped, Bergman became disconsolate, fearing he would never again return to directing. Despite pleas by the Swedish prime minister [[Olof Palme]], high public figures, and leaders of the film industry, he vowed never to work in Sweden again. He closed down his studio on the island of [[Fårö]], suspended two announced film projects, and went into self-imposed exile in [[Munich]], [[West Germany]]. [[Harry Schein]], director of the [[Swedish Film Institute]], estimated the immediate damage as ten million SEK (kronor) and hundreds of jobs lost.<ref>{{cite AV media|url=http://svtplay.se/v/1371717/oppet_arkiv/harry_schein_om_bergmans_flykt|archive-url=https://web.archive.org/web/20111120235441/http://svtplay.se/v/1371717/oppet_arkiv/harry_schein_om_bergmans_flykt|url-status=dead|archive-date=20 November 2011|title=Harry Schein om Bergmans flykt|trans-title=Harry Schein about Bergman's escape|work=[[Rapport]]|publisher=[[Sveriges Television]]|format=News report|date=22 April 1976|language=sv}}</ref>

===Aftermath following arrest===
Bergman then briefly considered the possibility of working in America; his next film, ''[[The Serpent's Egg (film)|The Serpent's Egg]]'' (1977) was a West German-U.S. production and his second English-language film (the first being ''[[The Touch (1971 film)|The Touch]]'', 1971). This was followed by a British-Norwegian co-production, ''[[Autumn Sonata]]'' (''Höstsonaten'', 1978) starring [[Ingrid Bergman]] (no relation) and [[Liv Ullmann]], and ''[[From the Life of the Marionettes]]'' (''Aus dem Leben der Marionetten'', 1980) which was a British-West German co-production.

He temporarily returned to his homeland to direct ''[[Fanny and Alexander]]'' (''Fanny och Alexander'', 1982). Bergman stated that the film would be his last, and that afterwards he would focus on directing theatre. After that he wrote several film scripts and directed a number of television specials. As with previous work for television, some of these productions were later theatrically released. The last such work was ''[[Saraband]]'' (2003), a sequel to ''Scenes from a Marriage'' and directed by Bergman when he was 84 years old.

Although he continued to operate from Munich, by mid-1978 Bergman had overcome some of his bitterness toward the Swedish government. In July of that year he visited Sweden, celebrating his sixtieth birthday on the island of Fårö, and partly resumed his work as a director at Royal Dramatic Theatre. To honour his return, the [[Swedish Film Institute]] launched a new [[Ingmar Bergman Award|Ingmar Bergman Prize]] to be awarded annually for excellence in filmmaking.<ref>Ephraim Katz, ''The Film Encyclopedia'', New York: HarperCollins, 5th ed., 1998.</ref> Still, he remained in Munich until 1984. In one of the last major interviews with Bergman, conducted in 2005 on the island of [[Fårö]], Bergman said that despite being active during the exile, he had effectively lost eight years of his professional life.<ref>{{citation|title=Ingmar Bergman: Samtal på Fårö|trans-title=Ingmar Bergman: Talks on Fårö|publisher=[[Sveriges Radio]]|date=28 March 2005|language=sv}}</ref>

===Retirement and death===
[[File:Grave of Ingmar Bergman, may 2008.jpg|thumb|upright=1.2|The grave of Bergman and his last wife Ingrid.]]
Bergman retired from filmmaking in December 2003. He had hip surgery in October 2006 and was making a difficult recovery. He died in his sleep<ref>{{cite news|url=http://news.bbc.co.uk/1/hi/entertainment/6952992.stm|title=Bergman was buried in a quiet ceremony|date=18 August 2007|work=BBC News|access-date=5 January 2010|location=London}}</ref> at age 89; his body was found at his home on the island of Fårö, on 30 July 2007.<ref>{{cite web|url=http://www.wtopnews.com/index.php?nid=114&sid=1204057|title=Film Great Ingmar Bergman Dies at 89|date=30 July 2007|access-date=30 July 2007|archive-url=https://web.archive.org/web/20070926211403/http://www.wtopnews.com/index.php?nid=114&sid=1204057|archive-date=26 September 2007|url-status=dead}}</ref> It was the same day another renowned existentialist film director, [[Michelangelo Antonioni]], died. The interment was private, at the [[Fårö Church]] on 18 August 2007. A place in the Fårö churchyard was prepared for him under heavy secrecy. Although he was buried on the island of Fårö, his name and date of birth were inscribed under his wife's name on a tomb at Roslagsbro churchyard, [[Norrtälje Municipality]], several years before his death.