Editing Ingrid Bergman (section)

== Career ==
=== 1935–1938: Swedish years ===
Bergman's first film experience was as an [[Extra (acting)|extra]] in the 1932 film {{lang|sv|Landskamp}}, an experience she described as "walking on holy ground".<ref name="HutchinsonOpinion"/> Her first speaking role was a small part in {{lang|sv|[[Munkbrogreven]]}} (1935).<ref name="HutchinsonOpinion"/> Bergman played Elsa, a maid in a seedy hotel, being pursued by the leading man, [[Edvin Adolphson]]. Critics called her "hefty and sure of herself", and "somewhat overweight ... with an unusual way of speaking her lines". The unflatteringly striped costume that she wore may have contributed to the unfavorable comments regarding her appearance.<ref name=Eclipse/><ref name="HutchinsonOpinion"/> Soon after {{lang|sv|Munkbrogreven}}, Bergman was offered a studio contract and placed under director [[Gustaf Molander]].<ref name="HutchinsonOpinion"/>
{{Multiple image
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| caption1          = Bergman as Elsa in {{lang|sv|Munkbrogreven}} (1935)
| image2            = Ekman & Bergman Intermezzo 1936 Still.jpg
| caption2          = Bergman with Gösta Ekman in ''Intermezzo'' (1936)
}}

Bergman starred in ''[[Ocean Breakers]]'', in which she played a fisherman's daughter, and then in {{lang|sv|[[Swedenhielms]]}}, where she had the opportunity to work alongside her idol [[Gösta Ekman (senior)|Gösta Ekman]]. Next, she starred in ''[[Walpurgis Night (film)|Walpurgis Night]]'' (1935).<ref name="HutchinsonOpinion">{{Cite web |date=14 November 2017 |title=Ingrid Bergman's early years {{!}} Sight & Sound |url=https://www2.bfi.org.uk/news-opinion/sight-sound-magazine/features/ingrid-bergman-early-years-sweden-germany |access-date=17 October 2020 |website=British Film Institute}}</ref><ref name=Eclipse/> She played Lena, a secretary in love with her boss, Johan, who is unhappily married. Throughout, Lena and the wife vie for Johan's affection, with the wife losing her husband to Lena at the end.<ref name=Eclipse/>

In 1936, in ''On the Sunny Side'' ({{ill|På Solsidan|sv|På Solsidan}}), Bergman was cast as an orphan from a good family who marries a rich older gentleman. Also in 1936, she appeared in ''[[Intermezzo (1936 film)|Intermezzo]]'', her first lead performance, where she was reunited with Gösta Ekman. This was a pivotal film for the young actress and allowed her to demonstrate her talent. Director Molander later said: "I created ''Intermezzo'' for her, but I was not responsible for its success. Ingrid herself made it successful."<ref name="HutchinsonOpinion"/> In 1938, she starred in ''[[Only One Night (1939 film)|Only One Night]]'', playing an upper-class woman living on a country estate. She didn't like the part, calling it "a piece of rubbish".<ref name=":9">{{Cite web |last=Hutchinson |first=Pamela |title=Eclipse Series 46: Ingrid Bergman's Swedish Years |url=https://www.criterion.com/current/posts/5543-eclipse-series-46-ingrid-bergman-s-swedish-years |access-date=30 October 2020 |website=The Criterion Collection}}</ref> She only agreed to appear if only she could star in the studio's next film project, {{lang|sv|En kvinnas ansikte}}.<ref>{{Citation |title=Only One Night (1939) – IMDb |url=https://www.imdb.com/title/tt0031270/trivia |access-date=19 October 2020}}</ref><ref name=":9"/> She later acted in ''Dollar'' (1938),<ref name=Eclipse/> a Scandinavian screwball comedy. Bergman had just been voted Sweden's most admired movie star in the previous year and received top billing. {{lang|sv|Svenska Dagbladet}} wrote in its review: "Ingrid Bergman's feline appearance as an industrial tycoon's wife overshadows them all."<ref name=":9"/>

In her next film, a role created especially for her,&nbsp;{{lang|sv|[[En kvinnas ansikte]]}} (''A Woman's Face''), she played against her usual casting, as a bitter, unsympathetic character, whose face had been hideously burned. Anna Holm is the leader of a blackmail gang that targets the wealthy folk of Stockholm for their money and jewellery.<ref name=Eclipse/> The film required Bergman to wear heavy make-up, as well as glue, to simulate a burned face. A brace was put in place to distort the shape of one cheek. In her diary, she called the film "my own picture, my very own. I have fought for it.". The critics loved her performance, citing her as an actor of great talent and confidence.<ref name="HutchinsonOpinion"/> The film was awarded a Special Recommendation at the [[1938 Venice Film Festival]], for its "overall artistic contribution".<ref>[https://archive.today/20110614063501/http://www.sfi.se/sv/svensk-film/Filmdatabasen/?itemid=3863&type=MOVIE&iv=Awards En kvinnas ansikte – Utmärkelser] (in Swedish). [[Swedish Film Institute]]. Retrieved on 29 April 2009.</ref> It was remade in 1941 by [[Metro-Goldwyn-Mayer]] with the same title, starring [[Joan Crawford]].<ref>{{AFI film|id=26990|title=A Woman's Face}}.</ref>

Bergman signed a three-picture contract with UFA, the German major film company, although she only made one picture. At the time, she was pregnant, but, nonetheless, she arrived in Berlin to begin filming ''[[The Four Companions (film)|The Four Companions]]'' ({{lang|de|Die vier Gesellen}}) (1938), directed by [[Carl Froelich]]. The film was intended as a star vehicle to launch Bergman's career in Germany.<ref>{{Cite book |last=Lunde |first=Arne |title=Nordic Exposures: Scandinavian Identities in Classical Hollywood Cinema |publisher=University of Washington Press |year=2010 |isbn=978-0-295-99045-3 |location=Seattle}}</ref>{{rp|157}}<ref name="HutchinsonOpinion"/> In the film, she played one of four ambitious young women, attempting to set up a graphic design agency. The film was a light-hearted combination of comedy and romance. At first, she did not comprehend the political and social situation in Germany. Later, she said: "I saw very quickly that if you were anybody at all in films, you had to be a member of the Nazi party."<ref name="HutchinsonOpinion"/> By September, she was back in Sweden, and gave birth to her daughter, Pia. She was never to work in Germany again.<ref name="HutchinsonOpinion"/>

Bergman appeared in eleven films in her native Sweden before the age of twenty-five. Her characters were always plagued with uncertainty, fear, and anxiety. The early Swedish films were not masterpieces,<ref name=":8">{{Cite web |title=Ingrid Bergman's Swedish film |url=http://kinotuskanac.hr/en/article/svedski-filmovi-ingrid-bergman |access-date=19 October 2020 |website=Kino Tuškanac}}</ref> but she worked with some of the biggest talents in the Swedish film industry, such as Gösta Ekman, Karin Swanström, Victor Sjöström, and Lars Hanson. It showcased her immense acting talent, as a young woman with a bright future ahead of her.<ref name="Eclipse">{{Cite web |title=Eclipse Series 46: Ingrid Bergman's Swedish Years |url=https://www.criterion.com/boxsets/1315-eclipse-series-46-ingrid-bergman-s-swedish-years |access-date=17 October 2020 |website=The Criterion Collection}}</ref>

===1939–1949: Hollywood and stage work breakthrough===
[[File:Ingrid Bergman Portrait Still.jpg|left|thumb|upright|Bergman in 1941]]
Bergman's first acting role in the United States was in ''[[Intermezzo: A Love Story]]'' by [[Gregory Ratoff]] which premiered on 22 September 1939.<ref>{{Cite web |title=AFI{{!}}Catalog |url=https://catalog.afi.com/Film/5126-INTERMEZZO-A-LOVE-STORY?cxt=filmography |access-date=16 October 2020 |website=catalog.afi.com}}</ref> She accepted the invitation of [[Hollywood (film industry)|Hollywood]] producer [[David O. Selznick]], who wished her to star in the English-language remake of her earlier Swedish film ''[[Intermezzo (1936 film)|Intermezzo]]'' (1936). Unable to speak English, and uncertain about her acceptance by the American audience, she expected to complete this one film and return home to Sweden. Her husband, Petter Aron Lindström, remained in Sweden with their daughter Pia (born 1938).<ref name=Chandler/>{{rp|63}} In ''Intermezzo'', she played the role of a young piano accompanist, opposite [[Leslie Howard]], who played a famous violin virtuoso. Bergman arrived in [[Los Angeles]] on 6 May 1939 and stayed at the Selznick home until she could find another residence.

According to Selznick's son Danny, who was a child at the time, his father had concerns about Bergman: "She didn't speak English, she was too tall, her name sounded too German, and her eyebrows were too thick". Bergman was soon accepted without having to modify her looks or name, despite some early suggestions by Selznick.<ref name="Chandler"/>{{rp|6}} "He let her have her way", notes a story in ''[[Life (magazine)|Life]]'' magazine. Selznick understood her fear of Hollywood make-up artists, who might turn her into someone she wouldn't recognize, and "instructed them to lay off". He was also aware that her natural good looks would compete successfully with Hollywood's "synthetic razzle-dazzle".<ref name="LifeMag"/>
During the following weeks, while ''Intermezzo'' was being filmed, Selznick was also filming ''[[Gone with the Wind (film)|Gone with the Wind]]''. In a letter to William Hebert, his publicity director, Selznick described a few of his early impressions of Bergman: {{blockquote|Miss Bergman is the most completely conscientious actress with whom I have ever worked, in that she thinks of absolutely nothing but her work before and during the time she is doing a picture&nbsp;... She practically never leaves the studio, and even suggested that her dressing room be equipped so that she could live here during the picture. She never for a minute suggests quitting at six o'clock or anything of the kind&nbsp;... Because of having four stars acting in ''Gone with the Wind'', our star dressing-room suites were all occupied and we had to assign her a smaller suite. She went into ecstasies over it and said she had never had such a suite in her life&nbsp;... All of this is completely unaffected and completely unique and I should think would make a grand angle of approach to her publicity&nbsp;... so that her natural sweetness and consideration and conscientiousness become something of a legend&nbsp;... and is completely in keeping with the fresh and pure personality and appearance which caused me to sign her.<ref name="Selznick">Selznick, David O. "Memo from David O. Selznick", Selected and edited by [[Rudy Behlmer]], Viking Press (1972), in letter dated 22 June 1939.</ref>{{rp|135–136}}}}
[[File:Ingrid Bergman studio portrait photo.jpg|thumb|Bergman in 1939]]
''Intermezzo'' became an enormous success and as a result, Bergman became a star. Ratoff, said, "She is sensational." This was the "sentiment of the entire set", wrote a retrospective,{{Vague|date=October 2020}}<!-- Which retrospective? --> adding that workmen went out of their way to do things for her and that the cast and crew "admired the quick, alert concentration she gave to direction and to her lines".<ref name="LifeMag"/> Film historian [[David Thomson (film critic)|David Thomson]] notes that this became "the start of an astonishing impact on Hollywood and America", where her lack of make-up contributed to an "air of nobility". According to ''Life'', the impression that she left on Hollywood, after she returned to Sweden, was of a tall girl "with light brown hair and blue eyes who was painfully shy, but friendly, with a warm, straight, quick smile".<ref name="LifeMag"/>

Selznick appreciated her uniqueness.<ref name="Thomson"/>{{rp|76}} Bergman was hailed as a fine new talent, and received many positive reviews. ''[[The New York Times]]'' noted her "freshness and simplicity and natural dignity" and the maturity of her acting which was nonetheless, free of "stylistic traits—the mannerisms, postures, precise inflections—that become the stock in trade of the matured actress". [[Variety (magazine)|Variety]] noted that she was warm and convincing, and provided an "arresting performance" and that her "charm, sincerity" ...and "infectious vivaciousness" would "serve her well in both comedy and drama". There was also recognition of her natural appearance, in contrast to other film actresses. ''[[The New York Tribune]]'' critic wrote: "Using scarcely any make-up, but playing with mobile intensity, she creates the character so vividly and credibility that it becomes the core of [the] narrative."<ref name="Quirk2"/>{{rp|73–74}} Bergman made her stage debut in 1940 with ''[[Liliom]]'' opposite [[Burgess Meredith]],<ref name="Leamer2">{{Cite book |last=Leamer, Laurence |url=https://archive.org/details/astimegoesbylif00leam |title=As Time Goes By: The Life of Ingrid Bergman |publisher=[[Harper & Row]] |year=1986 |isbn=0-06-015485-3 |pages=459, 460, 461, 464}}</ref> at a time when she was still learning English. Selznick was worried that his new starlet's value would diminish if she received bad reviews. Brooks Atkinson of ''The New York Times'' said that Bergman seemed at ease, and commanded the stage that evening.<ref name=":0"/> That same year she starred in ''[[June Night]]'' ({{lang|sv|Juninatten}}), a [[Swedish language]] [[drama]] film directed by [[Per Lindberg]].<ref>Charlotte Chandler, ''Ingrid: Ingrid Bergman, A Personal Biography'' pg. 71; ISBN 141653914X (2007)<br> ''" ... more films in Germany ended, Ingrid started the last Swedish film she had agreed to do, ''June Night''. The theme of the film, sexual harassment, was well ahead of its time. {{lang|sv|Juninatten}} (''June Night'', 1940) Kerstin Nosbäc (Ingrid Bergman) leads ..."''</ref> She plays Kerstin, a woman who has been shot by her lover. The news reaches the national papers. Kerstin moves to Stockholm under the new name of Sara, but lives under the scrutiny and watchful eye of her new community. {{lang|sv|Öresunds-Posten}} wrote, "Bergman establishes herself as an actress belonging to the world elite."<ref name=Eclipse/>

{{Multiple image
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| caption1 = ''Rage in Heaven'' (1941) poster with Bergman, [[Robert Montgomery (actor)|Robert Montgomery]], and [[George Sanders]]
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| caption2 = Bogart and Bergman as lovers in ''Casablanca'' (1942)
| image3 = Ingrid Bergman The Bells of St. Mary's Photo.jpg
| caption3 = Bergman as Sister Benedict in ''The Bells of St. Mary's'' (1945)
}}

Bergman was loaned out of David O. Selznick's company, to appear in three films which were released in 1941. On 18 February, Robert Sherwood Productions' released her second collaboration with Gregory Ratoff, ''[[Adam Had Four Sons]].''<ref name=":1">{{Cite web |title=AFI{{!}}Catalog |url=https://catalog.afi.com/Film/26586-ADAM-HAD-FOUR-SONS?cxt=filmography |access-date=16 October 2020 |website=catalog.afi.com}}</ref> On 7 March, [[Metro-Goldwyn-Mayer]] released [[W. S. Van Dyke]]'s ''[[Rage in Heaven]]''.<ref>{{Cite web |title=AFI{{!}}Catalog |url=https://catalog.afi.com/Film/27034-RAGE-IN-HEAVEN?cxt=filmography |access-date=16 October 2020 |website=catalog.afi.com}}</ref> On 12 August, [[Victor Fleming]]'s ''[[Dr. Jekyll and Mr. Hyde (1941 film)|Dr. Jekyll and Mr. Hyde]]'', another Metro-Goldwyn-Mayer production, had its New York opening. Bergman was supposed to play the "good girl" role of Dr Jekyll's fiancée but pleaded with the studio that she should play the "bad girl" Ivy, the saucy barmaid.<ref>{{Cite web |title=Dr. Jekyll and Mr. Hyde (1941) |url=https://nymag.com/listings/movie/dr-jekyll-and-mr-hyde-1902/ |access-date=11 October 2020 |website=NYMag.com}}</ref> Reviews noted that "she gave a finely-shaded performance". A New York Times review stated that "the young Swedish actress proves again, that a shining talent can sometimes lift itself above an impossibly written role".<ref name="Quirk2">{{Cite book |last=Quirk |first=Lawrence J. |url=http://archive.org/details/filmsofingridber0000quir |title=The films of Ingrid Bergman |date=13 October 1970 |publisher=New York : Citadel Press |isbn=9780806502120 |via=Internet Archive}}</ref>{{rp|84}} Another review said: "she displays a canny combination of charm, understanding, restraint and sheer acting ability."<ref name="Quirk2"/>{{rp|85}}

On 30 July 1941 at the Lobero Theatre in Santa Barbara, Bergman made her second stage appearance in ''[[Anna Christie]].<ref name="Leamer2"/>''<ref name=":0"/> She was praised for her performance as a whore in the play based on Eugene O'Neill's work. A San Francisco paper said she was as unspoiled as a fresh Swedish snowball. Selznick called her "The [[Colgate-Palmolive|Palmolive]] [[Greta Garbo|Garbo]]", a reference to a popular soap, and a well-known Swedish actress of the time. Thornton Delaharty said, "Lunching with Ingrid is like sitting down to an hour or so of conversation with an intelligent orchid."<ref name=":7">{{Cite book |last=Bergman |first=Ingrid |title=My Story |publisher=Sphere Books Ltd |year=1981 |isbn=0722116314 |location=Great Britain |page=531}}</ref>

''[[Casablanca (film)|Casablanca]]'', by [[Michael Curtiz]], opened on 26 November 1942.<ref>{{Cite web |title=AFI{{!}}Catalog |url=https://catalog.afi.com/Film/27175-CASABLANCA?cxt=filmography |access-date=16 October 2020 |website=catalog.afi.com}}</ref> Bergman co-starred with [[Humphrey Bogart]] in the film; this remains her best-known role. She played the role of Ilsa, the former love of Rick Blaine and wife of Victor Laszlo, fleeing with Laszlo to the United States.<ref name="Chandler"/> The film premiered on 26 November 1942 at New York's [[Hollywood Theater (New York)|Hollywood Theater]]. ''[[The Hollywood Reporter]]'' wrote, "The events are shot with sharp humor and delightful touches of political satire."<ref>{{Cite web |date=26 November 2014 |title='Casablanca': THR's 1942 Review {{!}} Hollywood Reporter |url=https://www.hollywoodreporter.com/news/casablanca-review-1942-movie-752498 |access-date=11 October 2020 |website=The Hollywood Reporter}}</ref> It went into more general release, in January 1943.<ref name="Quirk2"/>{{rp|86}}''Casablanca'' was not one of Bergman's favorite performances. "I made so many films which were more important, but the only one people ever want to talk about is that one with Bogart."<ref>{{Cite web |title=Ingrid Bergman – The Official Licensing Website of Ingrid Bergman |url=https://www.ingridbergman.com/ |access-date=22 February 2019 |website=Ingrid Bergman}}</ref> In later years, she stated, "I feel about ''Casablanca'' that it has a life of its own. There is something mystical about it. It seems to have filled a need, a need that was there before the film, a need that the film filled".<ref name="Chandler"/>{{rp|88}} Despite her personal views regarding her performance, [[Bosley Crowther]] of ''[[The New York Times]]'' wrote that "Bergman was surprisingly lovely, crisp and natural&nbsp;... and lights the romantic passages with a warm and genuine glow". Other reviewers said that she "[plays] the heroine with&nbsp;... appealing authority and beauty" and "illuminates every scene in which she appears" and compared her to "a youthful Garbo."<ref name="Quirk2"/>{{rp|89}}

''[[For Whom the Bell Tolls (film)|For Whom the Bell Tolls]]'' had its New York premiere on 14 July 1943.<ref>{{Cite web |title=AFI{{!}}Catalog |url=https://catalog.afi.com/Film/437-FOR-WHOM-THE-BELL-TOLLS?cxt=filmography |access-date=16 October 2020 |website=catalog.afi.com}}</ref> With "Selznick's steady boosting", she played the part of Maria, it was also her first color film. For the role, she received her first Academy Award nomination for [[Academy Award for Best Actress|Best Actress]]. The film was adapted from [[Ernest Hemingway]]'s [[For Whom the Bell Tolls|novel of the same title]] and co-starred [[Gary Cooper]]. When the book was sold to [[Paramount Pictures]], Hemingway stated that "Miss Bergman, and no one else, should play the part". His opinion came from seeing her in her first American role, ''Intermezzo''. They met a few weeks later, and after studying her, he declared, "You ''are'' Maria!".<ref name="LifeMag">Carlile, Thomas, and Speiser, Jean. ''Life'', 26 July 1943, pp. 98–104.</ref> [[James Agee]], writing in ''[[The Nation]]'', said Bergman "bears a startling resemblance to an imaginable human being; she really knows how to act, in a blend of poetic grace with quiet realism,<ref name="James"/> which almost never appears in American pictures." He speaks movingly of her character's confession of her rape, and her scene of farewell, "which is shattering to watch". Agee believed that Bergman has truly studied what Maria might feel and look like in real life, and not in a Hollywood film. Her performance is both "devastating and wonderful to see".<ref name="Quirk2"/>{{rp|94}}

''[[Gaslight (1944 film)|Gaslight]]'' opened on 4 May 1944.<ref>{{Cite web |title=AFI{{!}}Catalog |url=https://catalog.afi.com/Film/1552-GASLIGHT?cxt=filmography |access-date=16 October 2020 |website=catalog.afi.com}}</ref> Bergman won her first [[Academy Award for Best Actress]] for her performance. Under the direction of [[George Cukor]], she portrayed a "wife driven close to madness" by her husband, played by [[Charles Boyer]]. The film, according to Thomson, "was the peak of her Hollywood glory."<ref name=Thomson/>{{rp|77}} Reviewers noted her sympathetic and emotional performance, and that she exercised restraint, by not allowing emotion to "slip off into hysteria". ''The New York Journal-American'' called her "one of the finest actresses in filmdom" and said that "she flames in passion and flickers in depression until the audience—becomes rigid in its seats".<ref name="Quirk2"/>{{rp|99–100}}

{{Multiple image
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| caption1 = Bergman with [[Gregory Peck]] in ''Spellbound'' (1945)
| image2 = Gary Cooper in Saratoga Trunk 1945.jpg
| caption2 = Bergman in ''Saratoga Trunk'' (1945)
| image3 = Notorious1946.jpg
| caption3 = Bergman and Cary Grant in a publicity photo for ''Notorious'' (1946)
}}

''[[The Bells of St. Mary's]]'' premiered on 6 December 1945.<ref>{{Cite web |title=AFI{{!}}Catalog |url=https://catalog.afi.com/Film/24326-THE-BELLS-OF-ST-MARYS?cxt=filmography |access-date=16 October 2020 |website=catalog.afi.com}}</ref> Bergman played a nun opposite [[Bing Crosby]], for which she received her third consecutive nomination for Best Actress. Crosby plays a priest who is assigned to a Roman Catholic school where he conflicts with its headmistress, played by Bergman. Reviewer Nathan Robin said: 'Crosby's laconic ease brings out the impishness behind Bergman's fine-china delicacy, and Bergman proves a surprisingly spunky and spirited comic foil for Crosby'.<ref>{{Cite web |title=The Bells Of St. Mary's |url=https://thedissolve.com/reviews/381-the-bells-of-st-marys/ |url-status=dead |archive-url=https://web.archive.org/web/20201010115504/http://thedissolve.com/reviews/381-the-bells-of-st-marys/ |archive-date=10 October 2020 |access-date=13 October 2020 |website=The Dissolve}}</ref> The film was the biggest box office hit of 1945.<ref>{{Cite web |date=9 December 2019 |title=The Bells of St. Mary's – Media Play News |work=Media Play News |url=https://www.mediaplaynews.com/the-bells-of-st-marys-review/ |access-date=13 October 2020 |last1=Clark |first1=Mike }}</ref>

[[Alfred Hitchcock]]'s ''[[Spellbound (1945 film)|Spellbound]]'' premiered on 28 December 1945.<ref>{{Cite web |title=AFI{{!}}Catalog |url=https://catalog.afi.com/Film/24594-SPELLBOUND?cxt=filmography |access-date=16 October 2020 |website=catalog.afi.com}}</ref> In ''Spellbound'', Bergman played Dr. Constance Petersen, a psychiatrist whose analysis could determine whether or not Dr. Anthony Edwardes, played by [[Gregory Peck]], is guilty of murder. Artist [[Salvador Dalí]] was hired to create a dream sequence but much of what had been shot was cut by Selznick.<ref>{{Cite web |last=Lyttelton |first=Oliver |date=31 October 2012 |title=5 Things You May Not Know About Alfred Hitchcock's 'Spellbound' |url=https://www.indiewire.com/2012/10/5-things-you-may-not-know-about-alfred-hitchcocks-spellbound-104471/ |access-date=9 October 2020 |website=IndieWire}}</ref> During the film, she had the opportunity to appear with [[Michael Chekhov]], who was her acting coach during the 1940s.<ref>{{Cite web |last=Ledger |first=Adam J. |title=Michael Chekhov |url=http://www.litencyc.com/php/speople.php?rec=true&UID=5949 |access-date=6 March 2007 |website=litencye.com |publisher=The Literary Dictionary Company}}</ref> This would be the first of three collaborations she had with Hitchcock.<ref>{{Cite web |last=Cerabona |first=Ron |date=7 September 2019 |title=Fine pairings of director and star |url=https://www.canberratimes.com.au/story/6361690/fine-pairings-of-director-and-star/ |access-date=16 October 2020 |website=The Canberra Times}}</ref>

Next, Bergman starred in ''[[Saratoga Trunk]]'', with Gary Cooper, a film originally shot in 1943, but released on 30 March 1946.<ref name="Bogle">{{Citation |last=Bogle |first=Donald |title=Heat Wave: The Life and Career of Ethel Waters |url=https://archive.org/details/heatwavelifecare2011bogl/page/369 |page=[https://archive.org/details/heatwavelifecare2011bogl/page/369 369] |year=2011 |publisher=Harper-Collins |isbn=978-0-06-124173-4 |author-link=Donald Bogle}}</ref> It was first released to the armed forces overseas. In deference to more timely war-themed and patriotic films, Warner Bros held back the theatrical opening in the United States.<ref>{{Cite web |title=AFI{{!}}Catalog |url=https://catalog.afi.com/Catalog/MovieDetails/24565 |access-date=8 October 2020 |website=catalog.afi.com}}</ref> On 6 September premiered Hitchcock's ''[[Notorious (1946 film)|Notorious]].''<ref>{{Cite web |title=AFI{{!}}Catalog |url=https://catalog.afi.com/Film/24900-NOTORIOUS?cxt=filmography |access-date=16 October 2020 |website=catalog.afi.com}}</ref> In it, Bergman played a US spy, Alicia Huberman, who had been given an assignment to infiltrate the Nazi sympathizers in [[South America]]. Along the way, she fell in love with her fellow spy, played by [[Cary Grant]]. The film also starred [[Claude Rains]] in an Oscar-nominated performance by a supporting actor. According to [[Roger Ebert]], ''Notorious'' is the most elegant expression of Hitchcock's visual style.<ref>{{Cite web |last=Ebert |first=Roger |author-link=Roger Ebert |title=Notorious movie review & film summary (1946) {{!}} Roger Ebert |url=https://www.rogerebert.com/reviews/great-movie-notorious-1946 |access-date=9 October 2020 |website=rogerebert.com}}</ref> "''Notorious'' is my favorite Hitchcock", he asserted. Writing for the [[BFI]], Samuel Wigley called it a "perfect" film.<ref>{{Cite web |last=Wigley |first=Samuel |title=Notorious at 70: Toasting Hitchcock's dark masterpiece |url=https://www.bfi.org.uk/features/notorious-70th-anniversary |access-date=9 October 2020 |website=British Film Institute|date=15 August 2016 }}</ref> ''Notorious'' was selected by the [[National Film Registry]] in 2006 as culturally and significantly important.<ref>{{Cite news |last=Wertheimer |first=Linda |author-link=Linda Wertheimer |title='Blazing Saddles' Makes National Film Registry |work=NPR |url=https://www.npr.org/templates/story/story.php?storyId=6700144 |access-date=9 October 2020}}</ref>
[[File:Ingrid Bergman & Victor Fleming.jpg|thumb|upright|Bergman with director Victor Fleming at the premiere of ''[[Joan of Arc (1948 film)|Joan of Arc]]'' (1949)]]
On 5 October 1946, Bergman appeared in ''Joan of Lorraine'' at the Alvin Theatre in New York. Tickets were fully booked for a twelve-week run. It was the greatest hit in New York. After each performance, crowds were in line to see Bergman in person. ''[[Newsweek]]'' called her 'Queen of the Broadway Season.' She reportedly received roughly $129,000 plus 15 percent of the grosses. ''The Associated Press'' named her "Woman of the Year". ''Gallup'' certified her as the most popular actress in America.<ref name=":0"/>

On 17 February 1948, [[Arch of Triumph (1948 film)|''Arch of Triumph'']], by [[Lewis Milestone]] was released with Bergman and [[Charles Boyer]] as the leading roles<ref>{{Cite web |title=AFI{{!}}Catalog |url=https://catalog.afi.com/Film/25448-ARCH-OF-TRIUMPH?cxt=filmography |access-date=16 October 2020 |website=catalog.afi.com}}</ref> Based on [[Erich Maria Remarque]]'s book, it follows a story of Joan Madou, an Italian-Romanian refugee who works as a cabaret singer in a Paris nightclub. Distressed by her lover's sudden death, she attempts suicide by plunging into the Seine, but rescued by Dr Ravic, a German surgeon (Charles Boyer).<ref>{{Cite web |title=Arch of Triumph |url=https://www.tcm.com/tcmdb/title/67562/arch-of-triumph |access-date=26 October 2020 |website=Turner Classic Movies}}</ref><ref>{{Citation |title=Arch of Triumph (1948) |date=14 October 2008 |url=https://www.rottentomatoes.com/m/1001148-arch_of_triumph |access-date=26 October 2020}}</ref> On 11 November 1948, ''[[Joan of Arc (1948 film)|Joan of Arc]]'' had its world premiere.<ref>{{Cite web |title=AFI{{!}}Catalog |url=https://catalog.afi.com/Film/25598-JOAN-OF-ARC?cxt=filmography |access-date=16 October 2020 |website=catalog.afi.com}}</ref> For her role, Bergman received another Best Actress nomination. The independent film was based on the Maxwell Anderson play ''[[Joan of Lorraine]]'', which had earned her a [[Tony Award]] earlier that year.<ref name="Leamer2"/> Produced by [[Walter Wanger]] and initially released through [[RKO]]. Bergman had championed the role since her arrival in Hollywood, then chose to appear on the Broadway stage in Anderson's play. The film was not a big hit with the public, partly because of the Rossellini scandal, which broke while the film was still in theatres. Even worse, it received disastrous reviews, and, although nominated for several Academy Awards, did not receive a Best Picture nomination. It was subsequently cut by 45 minutes, but restored to full length in 1998, and released in 2004 on DVD.

''[[Under Capricorn]]'' premiered on 9 September 1949, as another Bergman and Hitchcock collaboration.<ref>{{Cite web |title=AFI{{!}}Catalog |url=https://catalog.afi.com/Film/768-UNDER-CAPRICORN?cxt=filmography |access-date=16 October 2020 |website=catalog.afi.com}}</ref> The film is set in the Australia of 1831. The story opens as Charles Adare, played by [[Michael Wilding]], arrives in [[New South Wales]] with his uncle. Desperate to find his fortune, Adare meets Sam Flusky ([[Joseph Cotten]]), who is married to Adare's childhood friend Lady Henrietta (Bergman), an alcoholic kept locked in their mansion. Soon, Flusky becomes jealous of Adare's affection for his wife. The film met with negative reactions from critics. Some of the negativity may have been based on disapproval of Bergman's affair with the Italian director [[Roberto Rossellini]]. Their scandalous relationship became apparent, shortly after the film's release.<ref>{{Cite web |date=13 July 2018 |title=Film Geeks Know That Hitchcock's "Under Capricorn" Is So Much More Than Merely a Costume Drama |url=https://www.popmatters.com/under-capricorn-alfred-hitchcock-2584067831.html?rebelltitem=5#rebelltitem5?rebelltitem=5 |access-date=10 October 2020 |website=PopMatters}}</ref>

=== 1950–1955: Italian films with Rossellini ===
[[File:Bergman stromboli.jpg|thumb|With Mario Vitale in ''[[Stromboli (1950 film)|Stromboli]]'' (1950)]]
[[File:Casa_di_Bergmann_&_Rosellini.JPG|thumb|The house in [[Sicily]] where Bergman and Rossellini lived together during the filming of ''Stromboli'']]
''[[Stromboli (1950 film)|Stromboli]]'' was released by Italian director [[Roberto Rossellini]] on 18 February 1950.<ref>{{Cite web |title=AFI{{!}}Catalog |url=https://catalog.afi.com/Film/27090-STROMBOLI?sid=32f692a7-13ee-4439-adb4-e54970866771&sr=10.347265&cp=1&pos=0 |access-date=17 October 2020 |website=catalog.afi.com}}</ref> Bergman had greatly admired two films by Rossellini. She wrote to him in 1949, expressing her admiration and suggesting that she make a film with him. As a consequence, she was cast in ''Stromboli''. During the production, they began an affair, and Bergman became pregnant with their first child.<ref name="Bondanella">Bondanella, Peter E. ''The Films of Robert Rossellini'', Cambridge University Press (1993)</ref>{{rp|18}}

This affair caused a huge scandal in the United States, where it led to Bergman being denounced on the floor of the [[United States Senate]]. On 14 March 1950, Senator [[Edwin C. Johnson]] insisted that his once-favorite actress "had perpetrated an assault upon the institution of marriage", and went so far as to call her "a powerful influence for evil".<ref>{{Cite news |last=Stern |first=Marlow |date=21 November 2015 |title=When Congress Slut-Shamed Ingrid Bergman |url=https://www.thedailybeast.com/articles/2015/11/21/when-congress-slut-shamed-ingrid-bergman |work=The Daily Beast}}</ref> "The purity that made people joke about Saint Bergman when she played Joan of Arc," one writer commented, "made both audiences and United States senators feel betrayed when they learned of her affair with Roberto Rossellini." [[Art Buchwald]], permitted to read her mail during the scandal, reflected in an interview, "Oh, that mail was bad, ten, twelve, fourteen huge mail bags. 'Dirty whore.' 'Bitch.' 'Son of a bitch.' And they were all Christians who wrote it."<ref>{{Cite book |last=Harmetz |first=Aljean |title=Round Up the Usual Suspects: The Making of ''Casablanca'' – Bogart, Bergman, and World War II |publisher=Hyperion |year=1992 |isbn=978-1-56282-761-8 |location=New York |page=118}}</ref>

[[Ed Sullivan]] chose not to have her on his show, despite a poll indicating that the public wanted her to appear.<ref name="Sullivan">{{Cite web |date=7 July 1957 |title=Steve Allen: The Mike Wallace Interview |url=http://www.hrc.utexas.edu/multimedia/video/2008/wallace/allen_steve_t.html |url-status=dead |archive-url=https://web.archive.org/web/20150924031645/http://www.hrc.utexas.edu/multimedia/video/2008/wallace/allen_steve_t.html |archive-date=24 September 2015 |access-date=5 November 2015 |website=Harry Ransom Center, University of Texas at Austin}}</ref> However, [[Steve Allen]], whose show was equally popular, did have her as a guest, later explaining "the danger of trying to judge artistic activity through the prism of one's personal life".<ref name="Sullivan"/> Spoto notes that Bergman had, by virtue of her roles and screen persona, placed herself "above all that". She had played a nun in ''[[The Bells of St. Mary's]]'' (1945), and a virgin saint in ''[[Joan of Arc (1948 film)|Joan of Arc]]'' (1948). Bergman later said, "People saw me in ''Joan of Arc'', and declared me a saint. I'm not. I'm just a woman, another human being."<ref name="Spoto">Spoto, Donald. ''Notorious: The Life of Ingrid Bergman'', HarperCollins (1997), p. 300.</ref> As a result of the scandal, Bergman returned to Italy, left her first husband, and went through a publicized divorce and custody battle for their daughter. Bergman and Rossellini were married on 24 May 1950.<ref>{{Cite book |last=Smit |first=David |url=https://books.google.com/books?id=v5rU6O_490gC&q=Rossellini&pg=PA90 |title=Ingrid Bergman: The Life, Career and Public Image |date=12 October 2012 |publisher=McFarland |isbn=9781476600598}}</ref>

In the United States, the film ''Stromboli'' was a [[box office bomb]] but did better overseas, where Bergman and Rossellini's affair was considered less scandalous. In all, RKO lost $200,000 on the picture.<ref name="jewell">{{Cite book |last=Jewell |first=Richard B. |title=Slow Fade to Black: The Decline of RKO Radio Pictures |date=2016 |publisher=University of California |isbn=9780520289673 |page=98}}</ref> In Italy, it was awarded the Rome Prize for Cinema as the best film of the year.<ref name="dagrada">Dagrada, Elena. "A Triple Alliance for a Catholic Neorealism: Roberto Rossellini According to Felix Norton, Giulio Andreotti and Gian Luigi Rondi." ''Moralizing Cinema: Film, Catholicism, and Power.'' Eds. Daniel Biltereyst and Daniela Treveri Gennari. Routledge, 2014.</ref><ref>{{Cite news |date=13 March 1950 |title='Stromboli' Gets Prize As Best Italian Film |page=5 |newspaper=[[The Washington Post]]}}</ref> The initial reception in America, however, was very negative. [[Bosley Crowther]] of ''[[The New York Times]]'' opened his review by writing: "After all the unprecedented interest that the picture ''Stromboli'' has aroused—it being, of course, the fateful drama which Ingrid Bergman and Roberto Rossellini have made—it comes as a startling anticlimax to discover that this widely heralded film is incredibly feeble, inarticulate, uninspiring and painfully banal." Crowther added that Bergman's character "is never drawn with clear and revealing definition, due partly to the vagueness of the script and partly to the dullness and monotony with which Rossellini has directed her."<ref>{{Cite news |last=Crowther |first=Bosley |author-link=Bosley Crowther |date=16 February 1950 |title=The Screen In Review |newspaper=[[The New York Times]] |page=28}}</ref>

The staff at ''[[Variety (magazine)|Variety]]'' agreed, writing,
{{blockquote|Director Roberto Rossellini purportedly denied responsibility for the film, claiming the American version was cut by RKO beyond recognition. Cut or not cut, the film reflects no credit on him. Given elementary-school dialog to recite and impossible scenes to act, Ingrid Bergman's never able to make the lines real nor the emotion sufficiently motivated to seem more than an exercise ... The only visible touch of the famed Italian director is in the hard photography, which adds to the realistic, documentary effect of life on the rocky, lava-blanketed island. Rossellini's penchant for realism, however, does not extend to Bergman. She's always fresh, clean and well-groomed.<ref>{{Cite magazine |date=15 February 1950 |title=Stromboli |magazine=[[Variety (magazine)|Variety]] |page=13}}</ref>}}

''[[Harrison's Reports]]'' wrote: "As entertainment, it does have a few moments of distinction, but on the whole it is a dull slow-paced piece, badly edited and mediocre in writing, direction and acting."<ref>{{Cite journal |date=18 February 1950 |title='Stromboli' with Ingrid Bergman |journal=[[Harrison's Reports]] |page=26}}</ref> [[John McCarten]] of ''[[The New Yorker]]'' found that there was "nothing whatsoever in the footage that rises above the humdrum", and felt that Bergman "doesn't really seem to have her heart in any of the scenes."<ref>{{Cite magazine |last=McCarten |first=John |date=25 February 1950 |title=The Current Cinema |magazine=[[The New Yorker]] |page=111}}</ref> [[Richard L. Coe]] of ''[[The Washington Post]]'' lamented, "It's a pity that many people who never go to foreign-made pictures will be drawn into this by the Rossellini-Bergman names and will think that this flat, drab, inept picture is what they've been missing."<ref>{{Cite news |last=Coe |first=Richard L. |date=16 February 1950 |title=All That Fuss, and The Thing Is Dull |page=12 |newspaper=[[The Washington Post]]}}</ref>
[[File:Europa '51.JPG|thumb|Bergman as Irene Girard in ''Europa '51'']]

Recent assessments have been more positive. Reviewing the film in 2013 in conjunction with its DVD release as part of [[The Criterion Collection]], [[Dave Kehr]] called the film "one of the pioneering works of modern European filmmaking."<ref name="kehr">{{Cite web |last=Kehr |first=Dave |date=27 September 2013 |title=Rossellini and Bergman's Break From Tradition |url=https://www.nytimes.com/2013/09/29/movies/homevideo/ingrid-bergman-in-3-rossellini-films-from-criterion.html |access-date=2 June 2018 |website=[[The New York Times]]}}</ref> In an expansive analysis of the film, critic Fred Camper wrote of the drama, {{blockquote|Like many of cinema's masterpieces, ''Stromboli'' is fully explained only in a final scene that brings into harmony the protagonist's state of mind and the imagery. This structure...suggests a belief in the transformative power of revelation. Forced to drop her suitcase (itself far more modest than the trunks she arrived with) as she ascends the volcano, Karin is stripped of her pride and reduced — or elevated — to the condition of a crying child, a kind of first human being who, divested of the trappings of self, must learn to see and speak again from a personal "year zero" (to borrow from another Rossellini film title).<ref>{{Cite web |last=Camper |first=Fred |date=2000 |title=Volcano Girl (film analysis and review) |url=http://www.fredcamper.com/Film/Rossellini.html |access-date=31 December 2007 |website=Chicago Reader}}</ref>}}

The [[Venice Film Festival]] ranked ''Stromboli'' among the 100 most important Italian films ("[[100 film italiani da salvare]]") from 1942 to 1978. In 2012, the [[British Film Institute]]'s ''[[Sight & Sound]]'' critics' poll also listed it as one of the 250 greatest films of all time.<ref>{{Cite web |title=Stromboli, Terria di Dio (1950) |url=http://explore.bfi.org.uk/sightandsoundpolls/2012/film/4ce2b6b6d8bc6 |url-status=dead |archive-url=https://web.archive.org/web/20120820045845/http://explore.bfi.org.uk/sightandsoundpolls/2012/film/4ce2b6b6d8bc6 |archive-date=20 August 2012}}</ref>

In 1952, Rossellini directed Bergman in ''[[Europa '51]]'', where she plays Irene Girard who is distraught by the sudden death of her son.<ref>{{Cite web |title=Europe '51 |url=https://www.criterion.com/films/28108-europe-51 |access-date=17 October 2020 |website=The Criterion Collection}}</ref> Her husband played by [[Alexander Knox]] soon copes, but Irene seems to need a purpose in life to assuage her guilt of neglecting her son.<ref name="Mermelstein">{{Cite news |last=Mermelstein |first=David |date=18 December 2013 |title=A Rossellini-Bergman Boxed Set From Criterion Is Reviewed |work=[[The Wall Street Journal]] |url=https://online.wsj.com/article/SB10001424052702304355104579234011374340976.html |access-date=18 October 2020 |issn=0099-9660}}</ref>

Rossellini directed her in a brief segment of his 1953 documentary film, [[We, the Women|''Siamo donne'' (''We, the Women'')]], which was devoted to film actresses.<ref name="Bondanella"/>{{rp|18}} His biographer, Peter Bondanella, notes that problems with communication during their marriage may have inspired his films' central themes of "solitude, grace, and spirituality in a world without moral values".<ref name="Bondanella"/>{{rp|19}} In December 1953, Rossellini directed her in the play ''[[Jeanne d'Arc au bûcher|Joan of Arc at the Stake]]'' in Naples, Italy. They took the play to Barcelona, London, Paris and Stockholm.<ref name="Leamer2"/> Her performance received generally good reviews.<ref name=":0"/>

Their following effort was ''[[Viaggio in Italia]] (Journey to Italy)'' in 1954. It follows a couple's journey to Naples, Italy to sell an inherited house. Trapped in a lifeless marriage, they are further unnerved by the locals' way of living.<ref name=Mermelstein/> According to John Patterson of ''The Guardian'', the film started The French New Wave.<ref>{{Cite news |last=Patterson |first=John |date=6 May 2013 |title=Journey To Italy: the Italian film that kickstarted the French New Wave |work=The Guardian |url=https://www.theguardian.com/film/2013/may/06/journey-to-italy-roberto-rossellini |access-date=17 October 2020 |issn=0261-3077}}</ref> [[Martin Scorsese]] picked this film to be among his favorites in his documentary short in 2001. On 17 February 1955, ''Joan at the Stake'' opened at the Stockholm Opera House. The play was attended by the prime minister and other theatrical figures in Sweden. ''Swedish Daily'' reported that Bergman seems vague, cool and lacking in charisma. Bergman was hurt by mostly negative reviews from the media of her native land. Stig Ahlgren was the most harsh when he labelled her a clever businesswoman, not an actress. "Ingrid is a commodity, a desirable commodity which is offered in the free market."<ref name=":0"/> Another effort they released that year was ''[[Joan of Arc at the Stake|Giovanna d'Arco al rogo (Joan of Arc at the Stake)]]''.<ref name="Weedman">{{Cite web |last=Weedman |first=Christopher |date=3 May 2000 |title=Melodramatic Postwar Confessions: Ingrid Bergman and Roberto Rossellini's La Paura (1954) – Senses of Cinema |url=https://www.sensesofcinema.com/2015/cteq/la-paura-roberto-rossellini/ |access-date=18 October 2020}}</ref>
[[File:Ingrid Bergman - 1954.JPG|thumb|upright=.9|Bergman in [[Fear (1954 film)|''La Paura'' (''Fear'')]] (1954)]]
Their final effort in 1954 was [[Fear (1954 film)|''La Paura'' (''Fear'')]], based on a play by Austro-Jewish writer Stefan Zweig's 1920 novella ''Angst'' about adultery and blackmail.<ref name= Weedman/> In ''Fear'', Bergman plays a businesswoman who runs a pharmaceutical company founded by her husband ([[Mathias Wieman]]). She is having an affair with a man whose ex-lover turns up and blackmails her. The woman demands money, threatening to tell her husband about the affair if Bergman doesn't pay her off. Under constant threats, Bergman is pressed to the point of committing suicide.<ref>{{Cite magazine |last=Brody |first=Richard |date=14 August 2015 |title=The Genius of Ingrid Bergman |url=http://www.newyorker.com/magazine/2015/08/24/a-life-of-her-own |access-date=18 October 2020 |magazine=The New Yorker}}</ref>

Rossellini's use of a Hollywood star in his typically "neorealist" films, in which he normally used non-professional actors, provoked some negative reactions in certain circles.{{Vague|date=October 2020}}<!-- Which "negative reactions"? Which "circles"? --> Rossellini, "defying audience expectations[,]...employed Bergman ''as if'' she were a nonprofessional," depriving her of a script and the typical luxuries accorded to a star (indoor plumbing, for instance, or hairdressers) and forcing Bergman to act "inspired by reality while she worked", creating what one critic calls "a new cinema of psychological introspection".<ref name=Bondanella/>{{rp|98}} Bergman was aware of Rossellini's directing style before filming, as the director had earlier written to her explaining that he worked from "a few basic ideas, developing them little by little" as a film progressed.<ref name=Bondanella/>{{rp|19}} Rossellini then was accused of ruining her successful career by taking her away from Hollywood, while Bergman was seen as the impetus for Rossellini abandoning the aesthetic style and socio-political concerns of Neo-Realism.<ref name= Weedman/>

While the movies Bergman made with Rossellini were commercial failures, the films have garnered great appreciation and attention in recent times. According to Jordan Cronk in his article reviewing the movies, their work has inspired a beginning of a modern cinematic era. Rossellini's films during the Bergman era ponder issues of complex psychology as depicted by Bergman in films like ''Stromboli'', ''Europa '51'' and ''Journey to Italy''.<ref name="Cronk">{{Cite web |last=Cronk |first=Jordan |date=5 October 2013 |title=Review: 3 Films by Roberto Rossellini Starring Ingrid Bergman on Criterion Blu-ray |url=https://www.slantmagazine.com/dvd/3-films-by-roberto-rossellini-starring-ingrid-bergman/ |access-date=18 October 2020 |website=[[Slant Magazine]]}}</ref> The influence of Bergman and Rossellini's partnership can be felt in the movies by [[Godard]], [[Fellini]] and [[Antonioni]] to, more recently, [[Abbas Kiarostami]] and [[Nuri Bilge Ceylan]].<ref name=Cronk/> David Kehr from ''The New York Times'' commented that their films now stand among the pioneering works whose influence can be felt in European modern filmmaking.<ref>{{Cite news |last=Kehr |first=Dave |date=27 September 2013 |title=Rossellini and Bergman's Break From Tradition (Published 2013) |work=The New York Times |url=https://www.nytimes.com/2013/09/29/movies/homevideo/ingrid-bergman-in-3-rossellini-films-from-criterion.html |access-date=18 October 2020 |issn=0362-4331}}</ref>

===1956–1972: Hollywood return===
{{Multiple image
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| image1 = Ingrid Bergman - Mel Ferrer - 1957.jpg
| alt1 =
| caption1 = With [[Mel Ferrer]] in [[Jean Renoir|Renoir]]'s ''[[Elena and Her Men]]'' (1956)
| image2 = Anastasia trailer1.jpg
| caption2 = In ''Anastasia'' (1956) which won her second Oscar
}}
After separating from Rossellini, Bergman starred in [[Jean Renoir]]'s ''[[Elena and Her Men]]'' (''Elena et les Hommes'', 1956), a romantic comedy in which she played a Polish princess caught up in political intrigue. Bergman and Renoir had wanted to work together. In ''Elena and Her Men'', which Renoir had written for her, she plays down-on-her-luck Polish princess Elena Sorokowska. The film was a hit in Paris when it premiered in September 1956.<ref>{{Cite web |last=Sorrento |first=Matthew |date=4 April 2010 |title=A Star's New Stage: Elena and Her Men (Elena et les Hommes) – Senses of Cinema |url=https://www.sensesofcinema.com/2015/cteq/elena-and-her-men/ |access-date=16 October 2020}}</ref> Candice Russell, commented that Bergman is the best thing in the film.<ref>{{Cite web |last=Russell |first=Candice |date=3 October 1986 |title=Bergman Best Thing About 'Elena' |url=https://www.sun-sentinel.com/news/fl-xpm-1986-10-03-8602280324-story.html |access-date=16 October 2020 |website=Sun-Sentinel}}</ref> Roger Ebert wrote, "The movie is about something else—about Bergman's rare eroticism, and the way her face seems to have an inner light on film. Was there ever a more sensuous actress in the movies?"<ref name=":10">{{Cite web |last=Ebert |first=Roger |author-link=Roger Ebert |title=Elena and Her Men movie review (1987) |url=https://www.rogerebert.com/reviews/elena-and-her-men-1987 |access-date=16 October 2020 |website=rogerebert.com}}</ref>

In 1956, Bergman also starred in a French adaptation of the stage production [[Tea and Sympathy (play)|''Tea and Sympathy'']]. It was presented at the [[Théâtre de Paris]], [[Paris]].<ref>[https://www.nytimes.com/1956/12/04/archives/miss-bergman-on-stage-bows-in-french-adaptation-of-tea-and-sympathy.html "Miss Bergman On Stage; Bows in French Adaptation of 'Tea and Sympathy' in Paris"] ''The New York Times'', 4 December 1956.</ref><ref>{{Cite book |last=Quirk |first=Lawrence J. |url=https://books.google.com/books?id=tFe1HuVWVQwC |title=The Complete Films of Ingrid Bergman |publisher=Citadel Press |year=1989 |isbn=978-0806509723 |pages=208–209 |chapter=Tea and Sympathy}}</ref> It tells a story of a "boarding school boy" who is thought to be homosexual. Bergman played the wife of the headmaster. She is supportive of the young man, grows closer to him and later has sex with him, as a way to "prove" and support his masculinity. It was a smash hit.<ref name=":0"/>

Twentieth Century Fox had bought the rights to ''Anastasia'' with [[Anatole Litvak]] slated to direct. Executive producer [[Buddy Adler]] wanted Bergman, then still a controversial figure in the States, to return to the American screen after a seven-year absence. Litvak also felt she would be an excellent actress for the part and insisted on her starring in the film.<ref>Chandler, Charlotte. ''Ingrid: A Personal Biography'', Simon & Schuster (2007) e-bk</ref> Fox agreed to take a chance, making her a box-office risk to play the leading role. Filming would take place in England, Paris, and Copenhagen.<ref>{{Cite web |title=Anastasia |url=https://www.tcm.com/tcmdb/title/67292/anastasia |access-date=16 October 2020 |website=Turner Classic Movies}}</ref>

''[[Anastasia (1956 film)|Anastasia]]'' (1956) tells the story of a woman who may be the sole surviving member of the [[Romanov]] family. [[Yul Brynner]] is the scheming general, who tries to pass her off as the single surviving daughter of the late [[Tsar Nicholas II]]. He hopes to use her to collect a hefty inheritance.<ref>{{Cite web |title=Anastasia {{!}} film by Litvak [1956] |url=https://www.britannica.com/topic/Anastasia-film-by-Litvak |access-date=16 October 2020 |website=Encyclopedia Britannica}}</ref> ''Anastasia'' was an immediate success. Bosley Crowther wrote in the ''New York Times'', "It is a beautifully molded performance, worthy of an Academy Award and particularly gratifying in the light of Miss Bergman's long absence from commendable films."<ref>{{Cite news |last=Crowther |first=Bosley |author-link=Bosley Crowther |date=14 December 1956 |title=The Screen: 'Anastasia'; Miss Bergman Excels in Notable Film |url=https://www.nytimes.com/1956/12/14/archives/the-screen-anastasia-miss-bergman-excels-in-notable-film.html |access-date=16 October 2020 |work=The New York Times |issn=0362-4331}}</ref>

With her role in ''Anastasia'', Bergman made a triumphant return to working for a Hollywood studio (albeit in a film produced in Europe) and won the [[Academy Award for Best Actress]] for a second time. Cary Grant accepted the award on her behalf.<ref>{{Cite web |title=Cary Grant acceptance speech |url=http://aaspeechesdb.oscars.org/link/029-3/ |access-date=4 June 2022 |website=Academy Awards Acceptance Speech Database}}</ref> Its director, [[Anatole Litvak]], described her as "one of the greatest actresses in the world":{{blockquote|Ingrid looks better now than she ever did. She's 42, but she looks divine. She is a simple, straightforward human being. Through all her troubles she held to the conviction that she had been true to herself and it made her quite a person. She is happy in her new marriage, her three children by Rossellini are beautiful, and she adores them.<ref>"Is Ingrid the Greatest?", ''The Indianapolis Star'', 16 July 1961.</ref>|title=|source=}}
[[File:Grant Bergman Indiscreet Still.jpg|thumb|right|Grant and Bergman in ''Indiscreet'' (1958)]]
After Anastasia, Bergman starred in [[Indiscreet (1958 film)|''Indiscreet'']] (1958), a romantic comedy directed by [[Stanley Donen]]. She plays a successful London stage actress, Anna Kalman, who falls in love with Philip Adams, a diplomat played by [[Cary Grant]]. The film is based on the play '''Kind Sir''<nowiki/>' written by Norman Krasna. Unmarried and wanting to stay single, he tells her that he is married but cannot get a divorce. [[Cecil Parker]] and [[Phyllis Calvert]] also co-starred.<ref>{{Cite news |last=Viladas |first=Pilar |date=7 October 2001 |title=The Joy of Sets (Published 2001) |work=The New York Times |url=https://www.nytimes.com/2001/10/07/magazine/the-joy-of-sets.html |access-date=14 October 2020 |issn=0362-4331}}</ref>

Bergman later starred in the 1958 picture ''[[The Inn of the Sixth Happiness]]'', based on a true story about [[Gladys Aylward]], a Christian missionary in China who, despite many obstacles, was able to win the hearts of the Chinese through patience and sincerity. In the film's climactic scene, she leads a group of orphaned children to safety, to escape from the Japanese invasion. The ''New York Times'' wrote, "the justification of her achievements is revealed by no other displays than those of Miss Bergman's mellow beauty, friendly manner and melting charm." The film also co-starred [[Robert Donat]] and [[Curd Jürgens|Curd Jurgens.]]<ref>{{Cite news |last=Crowther |first=Bosley |author-link=Bosley Crowther |date=14 December 1958 |title=Screen: China Mission; 'Inn of 6th Happiness' at Paramount, Plaza |url=https://www.nytimes.com/1958/12/14/archives/screen-china-mission-inn-of-6th-happiness-at-paramount-plaza.html |access-date=14 October 2020 |work=The New York Times |issn=0362-4331}}</ref>

Bergman made her first post-scandal public appearance in Hollywood at the [[31st Academy Awards]] in 1959, as presenter of the [[Academy Award for Best Picture|award for Best Picture]], and received a standing ovation when introduced.<ref>{{Cite web |last=Moody |first=Gary |title=All the Oscars: 1958 |url=http://theoscarsite.com/1958.htm |archive-url=https://web.archive.org/web/20061220050409/http://theoscarsite.com/1958.htm |archive-date=20 December 2006 |access-date=10 December 2006 |website=OscarSite.com – A celebration of all things Oscar}}</ref> She presented the award for Best Motion Picture together with Cary Grant, with whom she had recently starred in ''[[Indiscreet (1958 film)|Indiscreet]]''. Bergman made her television debut in an episode of ''[[Startime (1959 TV series)|Startime]]'', an [[Anthology television series|anthology show]], which presented dramas, musical comedies, and variety shows.<ref name="BrM">Tim Brooks and Earl March, ''The Complete Directory to Prime Time Network and Cable TV Shows: 1946–Present'' (Random House, 2007) {{ISBN|0-345-45542-8}} p. 976.</ref> The episode was ''[[The Turn of the Screw (Ford Startime)|The Turn of the Screw]]'',<ref>{{Cite news |last=Irish |first=Charles |date=18 October 1959 |title=Ingrid slates debut on tv |page=103 |work=The Sacramento Bee |url=https://www.newspapers.com/clip/61339842/ingrid-slates-debut-on-tv/ |via=Newspapers}}</ref> an adaptation of the [[The Turn of the Screw|horror novella]] by [[Henry James]], directed by [[John Frankenheimer]]. She played a governess of two little children who are haunted by the ghost of their previous caretaker. For this performance, she was awarded the 1960 [[Emmy]] for best dramatic performance by an actress.<ref>{{Cite web |date=24 July 2020 |title=Emmys flashback: Oscar winners Ingrid Bergman, Laurence Olivier, Geraldine Page take home TV's top prize |url=https://www.goldderby.com/article/2020/emmys-oscar-winners/ |access-date=10 October 2020 |website=GoldDerby}}</ref> Also in 1960, Bergman was inducted into the [[Hollywood Walk of Fame]] with a [[List of actors with Hollywood Walk of Fame motion picture stars|motion pictures star]] at 6759 [[Hollywood Boulevard]].<ref>{{Cite web |title=Hollywood Walk of Fame – Ingrid Bergman |url=http://www.walkoffame.com/ingrid-bergman |access-date=16 November 2017 |website=Hollywood Walk of Fame |publisher=Hollywood Chamber of Commerce}}</ref>

In 1961, Bergman's second American television production, ''Twenty-four Hours in a Woman's Life'', was produced by her third husband, [[Lars Schmidt (producer)|Lars Schmidt]].<ref>{{Cite web |date=29 December 2014 |title=Lars Schmidt Archives |url=https://www.be-hold.com/tag/lars-schmidt/ |access-date=10 October 2020 |website=Be-hold |archive-url=https://web.archive.org/web/20210115142220/https://www.be-hold.com/tag/lars-schmidt/ |archive-date=2021-01-15 |url-status=usurped }}</ref> Bergman played a bereaved wife in love with a younger man she has known for only 24 hours.<ref>{{Citation |title=Twenty-Four Hours in a Woman's Life (TV) (1961) |url=https://www.filmaffinity.com/us/film621672.html |access-date=21 October 2020}}</ref> She later starred in ''[[Goodbye Again (1961 film)|Goodbye Again]]'' as Paula Tessier, a middle-aged interior designer who falls in love with Anthony Perkins' character, fifteen years her junior. Paula is in relationship with Roger Demarest, a womanizer, played by Yves Montand. Roger loves Paula but is reluctant to give up his womanizing ways. When Perkins starts pursuing her, the lonely Paula is suddenly forced to choose between the two men.<ref>{{Cite web |title=Goodbye Again |url=https://www.tcm.com/tcmdb/title/17134/goodbye-again |access-date=18 October 2020 |website=Turner Classic Movies}}</ref> In his review of the film, Bosley Crowther wrote that Bergman was neither convincing nor interesting in her part as Perkins's lover.<ref>{{Cite news |last=Crowther |first=Bosley |author-link=Bosley Crowther |date=30 June 1961 |title=Screen: "Goodbye Again" at 2 Theatres: Film Based on Novel by Francoise Sagan |url=https://www.nytimes.com/1961/06/30/archives/screen-goodbye-again-at-2-theatresfilm-based-on-novel-by-francoise.html |access-date=18 October 2020 |work=The New York Times |issn=0362-4331}}</ref>
[[File:Ingrid Bergman in 1960.jpg|thumb|upright|Bergman in 1960]]
In 1962, Schmidt also co-produced his wife's third venture into American television, ''[[Hedda Gabler#Mass media adaptations|Hedda Gabler]]'', made for BBC and CBS. She played the titular character opposite [[Michael Redgrave]] and [[Ralph Richardson]].<ref>{{Cite web |date=28 January 2019 |title=In Black & White: Ingrid Bergman Plays it Cruel in 'Hedda Gabler' |url=https://www.thatmomentin.com/hedda-gabler-ingrid-bergman-black-and-white/ |access-date=10 October 2020 |website=That Moment In}}</ref> David Duprey wrote in his review, "Bergman and Sir Ralph Richardson on screen at the same time is like peanut butter and chocolate spread on warm toast."<ref>{{Cite web |date=28 January 2019 |title=In Black & White: Ingrid Bergman Plays it Cruel in 'Hedda Gabler' |url=https://www.thatmomentin.com/hedda-gabler-ingrid-bergman-black-and-white/ |access-date=21 October 2020 |website=That Moment In}}</ref> Later in the year, she took the titular role of ''[[Hedda Gabler]]'' at the {{lang|fr|[[Théâtre Montparnasse]]}} in Paris.<ref name="Leamer2"/>

On 23 September 1964, [[The Visit (1964 film)|''The Visit'']] premiered; based on Friedrich Dürrenmatt's 1956 play, ''Der Besuch der alten Dame; eine tragische Komödie,'' it starred Bergman and Anthony Quinn. With a production budget of $1.5&nbsp;million, principal photography took place in Capranica, outside of Rome. She plays Karla Zachanassian, the world's richest woman, who returns to her birthplace, seeking revenge.<ref>{{Cite web |title=AFI{{!}}Catalog |url=https://catalog.afi.com/Catalog/moviedetails/22450 |access-date=21 October 2020 |website=catalog.afi.com}}</ref>

On 13 May 1965, [[Anthony Asquith]]'s ''[[The Yellow Rolls-Royce]]'' premiered.<ref>{{Cite web |title=AFI{{!}}Catalog |url=https://catalog.afi.com/Film/18558-THE-YELLOW-ROLLS-ROYCE?cxt=filmography |access-date=19 October 2020 |website=catalog.afi.com}}</ref> Bergman plays Gerda Millett, a wealthy American widow who meets up with a Yugoslavian partisan, [[Omar Sharif]]. For her role, she was reportedly paid $250,000.<ref name=":0"/> That same year, although known chiefly as a film star, Bergman appeared in London's [[West End theatre|West End]], working with stage star [[Michael Redgrave]] in ''[[A Month in the Country (play)|A Month in the Country]].<ref name=":2">{{Cite book |last=Quirk |first=Lawrence |title=The Complete Films of Ingrid Bergman |publisher=Citadel Press |year=1989 |location=New York |pages=213, 221, 223}}</ref>'' She took on the role of Natalia Petrovna, a lovely headstrong woman, bored with her marriage and her life. According to ''[[The Times]]'', "The production would hardly have exerted this special appeal without the presence of Ingrid Bergman."<ref name=":0"/>

In 1966, Bergman acted in only one project, an hour-long television version of [[Jean Cocteau]]'s one-character play, ''[[The Human Voice]]''.<ref>{{Cite news |date=6 May 1967 |title=Ingrid Bergman and 'The Human Voice' |work=The New York Times |url=https://www.nytimes.com/1967/05/06/archives/ingrid-bergman-and-the-human-voice.html |access-date=10 October 2020 |issn=0362-4331}}</ref> It tells a story of a lonely woman in her apartment talking on the phone to her lover who is about to leave her for another woman. ''The New York Times'' praised her performance, calling it a tour-de-force. ''The Times of London'' echoed the same sentiment, describing it as a great dramatic performance through this harrowing monologue.<ref name=":7"/>

[[File:G Molander and I Bergman 1964.jpg|left|thumb|Bergman with Gustaf Molander, who directed her in ''Stimulantia'']]
In 1967, Bergman was cast in a short episode of Swedish anthology film, ''Stimulantia''. Her segment which is based on the Guy de Maupassant's ''The Jewellery'' reunited her with Gustaf Molander.<ref>{{Cite web |title=Stimulantia |url=https://www.sfstudios100years.com/film/stimulantia/ |access-date=18 October 2020 |website=SF Studios 100 år}}</ref> Next, [[Eugene O'Neill]]'s ''[[More Stately Mansions]]'' directed by [[José Quintero]], opened on 26 October 1967. Bergman, [[Colleen Dewhurst]], and [[Arthur Hill (Canadian actor)|Arthur Hill]] appeared in the leading roles. The show closed on 2 March 1968 after 142 performances.<ref>{{Cite web |title=More Stately Mansions Broadway @ Broadhurst Theatre – Tickets and Discounts |url=http://www.playbill.com/production/more-stately-mansions-broadhurst-theatre-vault-0000002054 |access-date=18 October 2020 |website=Playbill}}</ref> It was reported that thousands of spectators bought tickets, and travelled across the country, to see Bergman perform.<ref>{{Cite news |last=Bush |first=Miriam |date=1 March 1968 |title=A big success |page=11 |work=Asbury Park Press |url=https://www.newspapers.com/clip/61343566/a-big-success/ |via=Newspapers}}</ref><ref name="Leamer2"/> Bergman returned as both a presenter and a performer during the 41st Annual Academy Awards in 1969.<ref>{{Cite web |date=21 February 2019 |title=The 1969 Academy Awards Captured a Shifting Moment in Movie History |url=https://www.theatlantic.com/entertainment/archive/2019/02/2019-oscars-odd-parallels-1969-awards/583177/ |access-date=24 October 2020 |website=The Atlantic}}</ref>

Bergman wished to work in American films again, following a long hiatus.<ref name="Carter">{{Cite book |last=Carter |first=Grace May |url=https://books.google.com/books?id=SeeRDQAAQBAJ&q=goldie+hawn+on+ingrid+bergman&pg=PT320 |title=Ingrid Bergman |date=24 November 2016 |publisher=New Word City |isbn=978-1-61230-098-6}}</ref> She starred in ''[[Cactus Flower (film)|Cactus Flower]]'' released in 1969, with [[Walter Matthau]] and [[Goldie Hawn]]. Here, she played a prim spinster,<ref name="Carter"/> a dental nurse-receptionist who is secretly in love with her boss, the dentist, played by Matthau. [[Howard Thompson (film critic)|Howard Thompson]] wrote in ''The New York Times'':
<blockquote>The teaming of Matthau, whose dour, craggy virility now supplants the easy charm of [[Barry Nelson]], and the ultra-feminine Miss Bergman, in a rare comedy venture, was inspirational on somebody's part. The lady is delightful as a (now) "Swedish iceberg", no longer young, who flowers radiantly while running interference for the boss's romantic bumbling. The two stars mesh perfectly.<ref>{{Cite web |last=Thompson |first=Howard |date=17 December 1969 |title='Cactus Flower' Blooms |url=https://www.nytimes.com/1969/12/17/archives/cactus-flower-blooms.html |access-date=23 January 2019 |website=The New York Times}}</ref></blockquote>On 9 April 1970, [[Guy Green (filmmaker)|Guy Green]]'s ''[[A Walk in the Spring Rain]]'' had its world premiere.<ref>{{Cite web |title=AFI{{!}}Catalog |url=https://catalog.afi.com/Film/23437-A-WALK-IN-THE-SPRING-RAIN?cxt=filmography |access-date=20 October 2020 |website=catalog.afi.com}}</ref> Bergman played Libby, the middle-aged wife of a New York professor ([[Fritz Weaver]]). She accompanies him on his sabbatical in the Tennessee mountains, where he intends to write a book. She meets a local handyman, Will Cade ([[Anthony Quinn]]), and they form a mutual attraction. The screenplay, by writer-producer [[Stirling Silliphant]], was based on the romantic novel written by [[Rachel Maddux (author)|Rachel Maddux]]. ''The New York Times'' in its review wrote, "Striving mightily and looking lovely, Miss Bergman seems merely a petulant woman who falls into the arms of Quinn for novelty, from boredom with her equally bored husband, [Weaver], pecking away on a book in their temporary mountain retreat."<ref>{{Cite news |date=18 June 1970 |title=Bergman and Quinn Are Stars Of 'A Walk in the Spring Rain' |work=The New York Times |url=https://www.nytimes.com/1970/06/18/archives/bergman-and-quinn-are-stars-of-a-walk-in-the-spring-rain.html |access-date=19 October 2020 |issn=0362-4331}}</ref>

On 18 February 1971, ''Captain Brassbound's Conversion'', a play based on George Bernard Shaw's work, made a debut at London theatre. She took on the role of a woman whose husband has taken up with a woman half her age. Although the play was a commercial success, critics were not very receptive of Bergman's British accent.<ref name=":0"/>

She made an appearance in one episode of ''The Bob Hope Show'' in 1972.<ref>{{Cite web |title=The Bob Hope Show: April 10, 1972 |url=http://www.tv.com/shows/the-bob-hope-show/april-10-1972-1230878/ |url-status=dead |archive-url=https://web.archive.org/web/20160409015438/http://www.tv.com/shows/the-bob-hope-show/april-10-1972-1230878/ |archive-date=9 April 2016 |access-date=16 October 2020 |website=TV.com}}</ref> Also that year, U.S. Senator [[Charles H. Percy]] entered an apology into the ''[[Congressional Record]]'' for the verbal attack made on Bergman on 14 March 1950 by [[Edwin C. Johnson]]. Percy noted that she had been "the victim of bitter attack in this chamber 22 years ago." He expressed regret that the persecution caused Bergman to "leave this country at the height of her career". Bergman said that the remarks had been difficult to forget, and had caused her to avoid the country for nine years.<ref>{{Cite news |date=29 April 1972 |title=Ingrid Bergman Gets Apology for Senate Attack |work=The New York Times |url=https://www.nytimes.com/1972/04/29/archives/ingrid-bergman-gets-apology-for-senate-attack.html}}</ref> Although she had paid a high price, Bergman had made peace with America, according to her daughter, Isabella Rossellini.<ref name="JP"/>

=== 1973–1982: Later years and continued success ===
On 27 September 1972, [[Fielder Cook]]'s [[From the Mixed-Up Files of Mrs. Basil E. Frankweiler (1973 film)|''From the Mixed-Up Files of Mrs. Basil E. Frankweiler'']] premiered.<ref>{{Cite web |title=AFI{{!}}Catalog |url=https://catalog.afi.com/Film/54991-FROM-THE-MIXED-UP-FILES-OF-MRS-BASIL-E-FRANKWEILER?cxt=filmography |access-date=20 October 2020 |website=catalog.afi.com}}</ref> She plays the titular character, a wealthy recluse who befriends two children who are seeking "treasure" in the [[Metropolitan Museum of Art]].<ref>{{Cite news |last=Canby |first=Vincent |author-link=Vincent Canby |date=28 September 1973 |title=The Screen: Badly 'Mixed Up Files': The Cast |url=https://www.nytimes.com/1973/09/28/archives/the-screen-badly-mixed-up-filesthe-cast.html |access-date=21 October 2020 |work=The New York Times |issn=0362-4331}}</ref>
[[File:Ingrid Bergman The Constant Wife 1975.JPG|upright|thumb|Bergman in ''The Constant Wife'']]
Also that year, Bergman was the president of the jury at the 1973 [[Cannes Film Festival]].<ref>{{Cite web |title=Ingrid Bergman profile |url=http://www.festival-cannes.fr/perso/index.php?langue=6002&personne=4296444 |url-status=dead |archive-url=https://web.archive.org/web/20060312222212/http://www.festival-cannes.fr/perso/index.php?langue=6002&personne=4296444 |archive-date=12 March 2006 |access-date=23 October 2006 |website=[[Cannes Film Festival]]}}</ref> In an interview with ''[[The Daytona Beach News-Journal|The Daytona Beach Sunday News]]'' in 1978, she recalled this event because she met with [[Ingmar Bergman]] once again. This gave her the opportunity to remind him about the letter she had written some ten years ago, asking him to cast her in one of his pictures. Knowing that Ingmar would be attending, she made a copy of his long-ago reply, and put it in his pocket. He didn't reply again, for two years.<ref name=":3">{{Cite web |title=Daytona Beach Sunday News-Journal – Google News Archive Search |url=https://news.google.com/newspapers?nid=1870&dat=19781008&id=6YofAAAAIBAJ&pg=1226,3674870 |access-date=19 October 2020 |website=news.google.com}}</ref>

Next, Bergman returned to London's [[West End theatre|West End]] and appeared with [[John Gielgud]] in ''[[The Constant Wife]],<ref name=":2"/>'' which was a critical success; the theatre was consistently packed. ''[[The Daily Telegraph]]'' found the play "unusually entertaining", while Harold Hobson of ''[[The Sunday Times]]'' was still peeved at Bergman for playing yet another English woman with a "strange accent".<ref name=":7"/>

Bergman became one of the few actresses ever to receive three Oscars when she won her third (and first in the category of [[Academy Award for Best Supporting Actress|Best Supporting Actress]]) for her performance in ''[[Murder on the Orient Express (1974 film)|Murder on the Orient Express]]'' (1974). Director [[Sidney Lumet]] had offered Bergman the important part of Princess Dragomiroff, with which he felt she could win an Oscar. She insisted on playing the much smaller role of Greta Ohlsson, the old Swedish missionary. Lumet discussed Bergman's role:
{{blockquote|She had chosen a very small part, and I couldn't persuade her to change her mind. ... Since her part was so small, I decided to film her one big scene, where she talks for almost five minutes, straight, all in one long take. A lot of actresses would have hesitated over that. She loved the idea, and made the most of it. She ran the gamut of emotions. I've never seen anything like it.<ref name=Chandler/>{{rp|246–247}}}}

At the 1975 Academy Awards, film director [[Jean Renoir]] was to receive a Lifetime Achievement Award for his contribution to the motion picture industry. As he was ill at the time, he asked that Ingrid Bergman accept this award on his behalf. Bergman made a speech of acceptance that praised his films and the "compassion that marked all his works" as well as his teaching of both young filmmakers and audiences.<ref name="IBMS"/> {{rp|542–543}} Although she had been nominated for the new Best Supporting Actress Award, she considered her role in ''Murder on the Orient Express'' to be quite minor and did not expect to win. When the award was announced, in her surprised and unrehearsed remarks, she remarked to the audience that [[Valentina Cortese]] should have won the award for her role<ref>{{Cite web |title=Ingrid Bergman Wins Supporting Actress: 1975 Oscars | date=14 May 2008 |url=https://www.youtube.com/watch?v=ky5sW4no_cg |archive-url=https://ghostarchive.org/varchive/youtube/20211028/ky5sW4no_cg |archive-date=28 October 2021 |via=youtube.com}}{{cbignore}}</ref><ref name="IBMS"/> in ''[[Day for Night (film)|Day for Night]]'', by [[Truffaut]]. Bergman and Cortese spent the rest of the evening in each other's company, and were the subject of many photographs.<ref name="IBMS">{{Cite book |last=Bergman |first=Ingrid |url=http://archive.org/details/ingredbergmanmys00berg |title=Ingrid Bergman: My Story |date=9 October 1987 |publisher=[S.l.]: Dell |isbn=9780440140863 |via=Internet Archive}}</ref>{{rp|542–543}} Also in 1975, Bergman attended the AFI tribute to [[Orson Welles]]. The audience gave her a standing ovation when she appeared on stage. She joked that she hardly knew Welles and they only invited her because she was working across the street.<ref>{{Cite news |last=Canby |first=Vincent |author-link=Vincent Canby |date=2 March 1975 |title=Film View |url=https://www.nytimes.com/1975/03/02/archives/film-view-the-undiminished-chutzpah-of-orson-welles.html |access-date=16 October 2020 |work=The New York Times |issn=0362-4331}}</ref>

In 1976, Bergman was the first person to receive France's newly created [[Honorary César]], a national film award.<ref>{{Cite web |title=César d'Honneur – César |url=http://www.allocine.fr/festivals/festival-128/palmares/prix-18350744/ |access-date=20 April 2016 |publisher=Allo Cine}}</ref> She also appeared in [[A Matter of Time (film)|''A Matter of Time'']], by [[Vincente Minnelli]], which premiered on 7 October 1976.<ref>{{Cite web |title=AFI{{!}}Catalog |url=https://catalog.afi.com/Film/55847-A-MATTER-OF-TIME?cxt=filmography |access-date=20 October 2020 |website=catalog.afi.com}}</ref> Roger Ebert in his review wrote,

{{blockquote|''A Matter of Time'' is a fairly large disappointment as a movie, but as an occasion for reverie, it does very nicely. Once we've finally given up on the plot – a meandering and jumbled business – we're left with the opportunity to contemplate Ingrid Bergman at 60. And to contemplate Ingrid Bergman at any age is, I submit, a passable way to spend one's time.<ref>{{Cite web |last=Ebert |first=Roger |title=A Matter of Time movie review (1976) |url=https://www.rogerebert.com/reviews/a-matter-of-time-1976 |access-date=21 October 2020 |website=rogerebert.com/}}</ref>}}

From 1977 to 1978, Bergman returned to the London's West with [[Wendy Hiller]] in ''[[Waters of the Moon]]''.<ref name=":2"/> She played Helen Lancaster, a rich, self-centred woman whose car becomes stuck in a snowdrift. The play became the great new hit of the season.<ref name=":0"/>

In 1978, Bergman appeared in ''[[Autumn Sonata]]'' ({{lang|sv|Höstsonaten}}), by accomplished Swedish filmmaker, [[Ingmar Bergman]] (no relation), for which she received her seventh—and final—Academy Award nomination. She did not attend the awards, due to her illness. This was her final cinema performance. The film gave her the opportunity to work with [[Liv Ullmann]], another well-known and respected Scandinavian artist.<ref name=":11">{{Cite book |last=Leamer |first=Laurence |url=http://archive.org/details/astimegoesbylif00leam |title=As time goes by: The life of Ingrid Bergman |date=1986 |publisher=New York: Harper & Row |others=Internet Archive |isbn=978-0-06-015485-1 |pages=151–154, 165, 169, 174, 176, 178, 183, 187–189}}</ref> In the film, Bergman plays a celebrity pianist, Charlotte, who travels to Norway intending to visit her neglected eldest daughter, Eva, played by Ullmann. Eva is married to a clergyman and they care for her sister, Helena, who is severely disabled, paralyzed, and unable to speak clearly. Charlotte has not visited either of her two daughters for seven years. Upon arrival at Eva's home, she is shocked and dismayed to learn that her younger daughter is also in residence, and not still in the institution "home". Very late that night, Eva and Charlotte have an impassioned and painful conversation about their past relationship. Charlotte leaves the next day.<ref name="MS">{{Cite book |last1=Bergman |first1=Ingrid |url=http://archive.org/details/ingridbergmanmy00berg |title=Ingrid Bergman, my story |last2=Burgess |first2=Alan |author-link2=Alan Burgess |date=8 October 1981 |publisher=New York: Dell |isbn=9780440140856 |via=Internet Archive}}</ref>{{rp|558}} The film was shot in Norway.<ref>{{Cite news |last=Schumach |first=Murray |date=31 August 1982 |title=Ingrid Bergman, winner of 3 Oscars, is dead |work=The New York Times |url=https://www.nytimes.com/1982/08/31/obituaries/ingrid-bergman-winner-of-3-oscars-is-dead.html |url-status=live |access-date=7 October 2020 |archive-url=https://web.archive.org/web/20190711093003/https://www.nytimes.com/1982/08/31/obituaries/ingrid-bergman-winner-of-3-oscars-is-dead.html |archive-date=11 July 2019}}</ref>

Bergman was battling cancer at the time of the filming. The final two weeks of the shooting schedule required adjustment because she required additional surgery.<ref name="MS"/>{{rp|568–569}} Believing that her career was nearing its end, Bergman wanted her swan song to be honourable. She was pleased with the overwhelming critical acclaim for ''[[Autumn Sonata]]''. [[Stanley Kaufmann]] of ''The New Republic'' wrote, "The astonishment is Bergman's performance. We've all adored her for decades but not many of us have thought her a superb actress. Here, she exalted in the hands of a master."<ref name=":7"/> ''[[Newsweek]]'' wrote, "An expressive force we can't even remember seeing since Hollywood grabbed her."<ref name=":7"/> ''[[The Times]]'' (London) concurred that it was "a tour-de-force, such as the cinema rarely sees".<ref name=":7"/> Both Bergman and Ullmann won the [[New York Film Critics Circle Award for Best Film|''New York Film Critic's Award'']] and Italy's [[David di Donatello|''Donatello'']] award, for their roles.<ref name=":13">{{Cite book |last=Bergman |first=Ingrid |title=My Story |publisher=Delacorte |year=1973 |isbn=0440032997 |location=New York |page=531}}</ref> Bergman later recalled that Ingmar had possibly given her the best role of her career, and that she would never make another movie again. "I don't want to go down and play little parts. This should be the end."<ref name=":3"/>

In 1979, Bergman hosted the AFI's Life Achievement Award Ceremony for [[Alfred Hitchcock]].<ref>{{Cite web |title=American Film Institute Salute to Alfred Hitchcock (TV) |url=https://www.paleycenter.org/collection/item/?q=cbs+television+w..&p=30&item=T82:0564 |access-date=7 October 2020 |website=paleycenter.org}}</ref> At the program's finale, she presented him with the wine cellar key that was crucial to the plot of ''Notorious''. "Cary Grant kept this for 10 years, then he gave it to me, and I kept it for 20 years for good luck and now I give it to you with my prayers," before adding "God bless you, Hitch."<ref>{{Cite news |last=Turan |first=Kenneth |author-link=Kenneth Turan |date=9 March 1979 |title=Testimonial With a 'Hitch' |url=https://www.washingtonpost.com/archive/lifestyle/1979/03/09/testimonial-with-a-hitch/04d85cab-fc87-4983-b68f-72e2af3f1a39/ |access-date=16 October 2020 |newspaper=[[The Washington Post]] |issn=0190-8286}}</ref> Bergman was the guest of honour in the Variety's Club All Star Salute program in December 1979. The show was hosted by Jimmy Stewart and was attended by Cary Grant, Frank Sinatra, Goldie Hawn, Helen Hayes, Paul Henreid and many of her former co-stars. She was honored with the ''Illis Quorum'', the medal given to artists of significance by the King of Sweden.<ref>{{Cite web |title=All-Star Tribute to Ingrid Bergman TV |url=https://www.paleycenter.org/collection/item/?q=cbs&p=19&item=109472 |access-date=16 October 2020 |website=paleycenter.org}}</ref>

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| caption1          = Bergman's autobiography, ''My Story''
| image2            = MONI 051.jpg
| caption2          = Bergman's last performance in ''A Woman Called Golda'' won her an Emmy posthumously.
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In the late '70s, Bergman appeared on several talk shows and was interviewed by Merv Griffin, David Frost, Michael Parkinson, Mike Douglas, John Russell and Dick Cavett, discussing her life and career.<ref>{{Cite web |title=Ingrid Bergman |url=https://www.imdb.com/filmosearch?role=nm0000006&job_type=self |access-date=16 October 2020 |website=IMDb}}</ref>

In 1980, Bergman's autobiography, ''Ingrid Bergman: My Story'', was written with the help of [[Alan Burgess]]. In it, she discusses her childhood, her early career, her life during her time in Hollywood, the Rossellini scandal, and subsequent events. The book was written after her son warned her that she would only be known through rumors and interviews if she did not tell her own story.<ref>{{Cite news |last=Klemesrud |first=Judy |date=7 October 1980 |title=Ingrid Bergman: No Regrets At 65; Book Suggested by Son |work=[[The New York Times]] |url=https://www.nytimes.com/1980/10/07/archives/ingrid-bergman-no-regrets-at-65-book-suggested-by-son.html |access-date=29 August 2021 |issn=0362-4331}}</ref> In 1982, she was awarded the [[David di Donatello|David di Donatello's]] Golden Medal of the Minister of Tourism, given by The Academy of Italian Cinema.<ref>{{Cite web |title=Ingrid Bergman |url=https://www.daviddidonatello.it/motore-di-ricerca/cercavincitori2.php?idsoggetto=61&vin=Bergman |access-date=30 November 2020 |website=daviddidonatello |language=it}}</ref>

Finally that year, Bergman played the starring role in a television mini-series, ''[[A Woman Called Golda]]'' (1982), about the late Israeli [[prime minister]] [[Golda Meir]]. It was to be her final acting role and she was honored posthumously with a second [[Emmy Award]] for Best Actress. Bergman was surprised to be offered the role, but the producer explained, "People believe you and trust you, and this is what I want, because Golda Meir had the trust of the people." Her daughter Isabella added, "Now, ''that'' was interesting to Mother." She was also persuaded that Golda was a "grand-scale person", one that people would assume was much taller than she actually was. Chandler notes that the role "also had a special significance for her, as during World War II, Ingrid felt guilty because she had so misjudged the situation in Germany".<ref name="Chandler"/>{{rp|293}}

According to Chandler, "Ingrid's rapidly deteriorating health was a more serious problem. Insurance for Bergman was impossible. Not only did she have cancer, but it was spreading, and if anyone had known how bad it was, no one would have gone on with the project." After viewing the series on TV, Isabella commented:

{{blockquote|She never showed herself like that in life. In life, Mum showed courage. She was always a little vulnerable, courageous, but vulnerable. Mother had a sort of presence, like Golda, I was surprised to see it&nbsp;... When I saw her performance, I saw a mother that I'd never seen before—this woman with balls.<ref name=Chandler/>{{rp|290}}}}

Her daughter said that Bergman identified with Golda Meir, because she, too had felt guilty. Bergman tried to strike a balance between home and work responsibilities and deal with "the inability to be in two places at one time". Bergman's arm was terribly swollen from her cancer surgery. She was often ill during the filming, recovering from a mastectomy and the removal of lymph nodes. It was important to her, as an actress, to make a certain gesture of Meir's, which required her to raise both arms, but she was unable to properly raise one arm. During the night, her arm was propped up, in an uncomfortable position, so that the fluid would drain, and enable her to perform her character's important gesture.<ref name="Chandler"/>{{rp|295}}

Despite her health problems, she rarely complained or let others see the difficulties she endured. Four months after the filming was completed, Bergman died on her 67th birthday. After her death, her daughter Pia accepted her Emmy.<ref name="Chandler"/>{{rp|296}}