Ingrid Bergman: In Her Own Words
With The Criterion Collection’s release of the wonderful box set 3 Films by Roberto Rossellini Starring Ingrid Bergman (Stromboli, Europe ’51 and Journey To Italy), a little seen documentary that would have made a perfect supplement instead has been given its own stand-alone release -- because it’s that good. Director Stig Bjorkman’s 2015 Swedish doc Ingrid Bergman: In Her Own Words actually proves to be just as compelling and well made as anything in the more celebrated box set. This is as good a documentary about a monumental film actress as has ever been produced, thanks to a treasure trove of correspondence, home movies, and, of course, footage from her own films and news reels (since she was the original international paparazzi prey). Ingrid Bergman was a complete original. Besides having a hall-of-fame film career she also lived one of the most interesting offscreen lives that often played out like a Douglas Sirk melodrama.
Ingrid grew up in a family of people who died young, which gave her extra drive. While still a teenager, she become a popular film actress in her homeland of Sweden. She was brought to America by big-time movie producer David O. Selznick to star in a remake of her own film, Intermezzo. In ’39, the film ended up being a big hit and -- bang! -- she was a star. An astonishing run of films would make her the most important film actress of the 1940s. She would get four Oscar nominations in the decade for The Bells of St Mary’s, For Whom the Bell Tolls, Joan of Arc and Gaslight, for which she won the award. She was in the popular Dr. Jekyll and Mr. Hyde as well as in Hitchcock films Spellbound and Notorious (his greatest movie, so says I). Most famously, she would play Ilsa in quite possibly the most beloved film of the decade, Casablanca. All this before the age of thirty-three!Continue Reading
Tilt is a quirky, surprisingly endearing movie about growing up. The examples being made show the fumbling of a young man keen on trying to con his way into obtaining respect and a fourteen-year-old girl who doesn’t know what respect is. This morality tale is somehow sweetly wrapped up in the act of pinball hustling. That’s right, pinball.
There are few films that handle the cult fascination with pinball parlors or even arcades for that matter. Joysticks and The Wizard come to mind almost instantly. Surely the 2007 documentary The King of Kong: A Fistful of Quarters shows that the craze is still very much alive. Those old enough to be adolescents or young adults during the '70s and '80s can even likely attest to there being a lack of nerd-association with the sport.Continue Reading
When we think of Woody Allen’s evolutionary assault on film history, we think of his amazing one-two-punch of Annie Hall in ’77 and Manhattan in ’79 (and some may add Stardust Memories to the streak in ’80). But usually forgotten (and some would say for good reason) is the little film in between them in ’78 called Interiors. After years of slapstick, the comic/director’s Annie Hall surprised audiences with a more mature and almost serious direction (and won lots of awards for it). But with Interiors, Allen turned the seriousness up to an eleven.
This was his bold attempt at a Bergmanesque (a term invented because of this movie) cold, depressing family drama; there’s not a joke in sight, not even a smile. It couldn’t be more bleakly Scandinavian, as heartbreak, envy, divorce, adultery, rape, icy silence and of course, suicide by drowning take their turn on the screen. Allen puts together an interesting cast of actors at their most introspective. Leading the way is his then-muse, Diane Keaton, along with Geraldine Page, Mary Beth Hurt, Sam Waterson, E.G. Marshall, Maureen Stapleton as well as impressive newcomer Kristen Griffith and, in a stroke of inspired casting, the great B-Actor Richard Jordan. At the time, not only was this a new direction for Allen, it was unlike anything any major American directors were doing.Continue Reading