The three cinema films were made for United Artists (still in Swedish, though) and the rights to them are still held by that catalogue – later moved to MGM and now presumably with Amazon. Bookended by black and white scenes of Bergman sitting by a projector, speaking to camera, the film is mostly made up of colour 16mm home-movie footage of his son Daniel, from when he was a seven-month pregnancy bump on Bergman’s then wife Käbi Laretei’s body to the age of two.Īfter that, Bergman returned to fiction and made four feature films (including The Rite) in the space of two years. Two segments are adaptations of classic stories: no less than Ingrid Bergman stars in a version of Guy de Maupassant’s story The Necklace, directed by Bergman’s mentor Gustav Molander. Stimulantia is a mixed bag, juxtaposing fiction and documentary, colour and black and white, 35mm and 16mm. That’s the case with Stimulantia, the work of eight directors, put together by Vilgot Sjöman: never released in the UK, it is however available online with English subtitles at a certain file-sharing website. The results are frequently uneven, with major short work sitting next to nothing much, and it’s also fair to say that many of the portmanteaux have vanished into obscurity and are now hard to see. Portmanteau films were in fashion in the 1960s, with many European auteurs contributing to them. As you might expect, Bergman more than filled that gap with other films which aren’t in this set. The first film in Volume 4 came out in 1972. Volume 3 ended with Persona in 1966 and then jumped forward to 1969 and The Rite, made for television but released in cinemas overseas. Except it wasn’t his final film.not quite. In Fanny and Alexander, Bergman made of the greatest closures to a great career ever committed to celluloid. Even so, despite the gaps, it’s hard to avoid the sense that Bergman’s final decade as a film director for the cinema was an uneven one, in some cases due to circumstances, but it still contains some of his best work. However there’s a sense that even that isn’t enough to contain Bergman, as some significant films aren’t included, usually because they’re owned by different rightsholders. As with the other box sets, it breaks down Bergman’s long and prolific career roughly by decade. This is the fourth and final box set from the BFI covering Ingmar Bergman’s films, eight films, which in this case include two versions of the same film. The fourth of the BFI’s four Ingmar Bergman box sets, like the others containing eight films, takes us through the 1970s to the end of his cinema directing career at the start of the next decade.
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