Editing Ingmar Bergman (section)

===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)]]