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Ingmar Bergman Films | Ingmar Bergman Filmography | Ingmar Bergman Biography | Ingmar Bergman Career | Ingmar Bergman Awards

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Source: Svenska filministitutet

Filmography
Films As Director: 

1946: Kris (Crisis) (+scenarist/scriptwriter); Det regnar p? v?r k?rlek (It Rains on Our Love, The Man with an Umbrella) (+co-scenarist/scriptwriter). 1947: Skepp till Indialand (A Ship Bound for India; The Land of Desire) (+scenarist/scriptwriter). 1948: Musik i m?rker (Music in Darkness; Night Is My Future); Hamnstad (Port of Call) (+co-scenarist/scriptwriter). 1949: F?ngelse (Prison; The Devil's Wanton) (+scenarist/scriptwriter); T?rst (Thirst; Three Strange Loves). 1950: Till gl?dje (To Joy) (+scenarist/scriptwriter); S?nt b?nder inte b?r (High Tension; This Doesn't Happen Here). 1951: Sommarlek (Summer Interlude, Illicit Interlude) (+co-scenarist/scriptwriter). 1952: Kvinnors v?ntan (Secrets of Women; Waiting Women) (+scenarist/scriptwriter). 1953: Sommaren med Monika (Monika; Summer with Monika) (+co-scenarist/scriptwriter); Gycklarnas afton(The Naked Night; Sawdust and Tinsel) (+scenarist/scriptwriter). 1954: En lektion i k?rlek (A Lesson in Love) (+scenarist/scriptwriter). 1955: Kvinnodr?m (Dreams; journey into Autumn) (+scenarist/scriptwriter); Sommarnattens leende (Smiles of a Summer Night) (+scenarist/scriptwriter). 1957: Det sjunde inseglet (The Seventh Seal) (+scenarist/scriptwriter); Smultronst?llet (Wild Strawberries) (+scenarist/scriptwriter). 1958: N?ra livet (Brink of Life; So Close to Life) (+co-scenarist/scriptwriter); Ansiktet (The Magician; The Face) (+scenarist/scriptwriter). 1960: Jungfruk?llen (The Virgin Spring); Dj?vulens ?ga (The Devil's Eye) (+scenarist/scriptwriter). 1961: S?som i en spegel (Through a Glass Darkly) (+scenarist/scriptwriter). 1963: Nattvardsg?sterna (Winter Light) (+scenarist/scriptwriter); Tystnaden (The Silence) (+scenarist/scriptwriter). 1964: F?r att inte tala om alla dessa kvinnor (All These Women; Now About These Women) (+co-scenarist/scriptwriter under pseudonym "Buntel Eriksson"). 1966: Persona (+scenarist/scriptwriter). 1967: ?Daniel ? episode of Stimulantia (+scenarist/scriptwriter, producer). 1968: Vargtimmen (Hour of the Wolf) (+scenarist/scriptwriter); Skammen (Shame; The Shame) (+scenarist/scriptwriter). 1969: Riten (The Ritual; The Rite) (+scenarist/scriptwriter); En passion (The Passion of Anna; A Passion) (+scenarist/scriptwriter); F?r?-dokument (The F?r? Document) (+scenarist/scriptwriter). 1971: Ber?ringen (The Touch) (+scenarist/scriptwriter). 1973: Viskningar och rop (Cries?nd Whispers) (+scenarist/scriptwriter); Scener ur ett ?ktenskap (Scenes from a Marriage) (+scenarist/scriptwriter, narration, voice of the photographer) in six episodes: ?Oskuld och panik (Innocence and Panic)?; ?Kunsten att sopa unter mattan (The Art of Papering Over Cracks)?; ?Paula?; ?T?redalen (The Vale of Tears)?; ?Analfabeterna (The Illiterates)?; ?Mitt i natten i ett m?rkt hus n?gonstans i v?rlden (In the Middle of the Night in a Dark House Somewhere in the World)? (shown theatrically in shortened version of 168 minutes). 1977: Das Schlangenei (The Serpent's Egg; Ormens ?gg) (+scenarist/scriptwriter). 1978: Herbstsonate (Autumn Sonata; H?stsonaten) (+scenarist/scriptwriter). 1979: F?r?-dokument 1979 (F?r? 1979 ) (+scenarist/scriptwriter, narration). 1980: Aus dem Leben der Marionetten (From the Life of the Marionettes ) (+scenarist/scriptwriter). 1982: Fanny och Alexander (Fanny and Alexander) (+scenarist/scriptwriter). 1984: Efter Repetitioner (After the Rehearsal) (TV) (+scenarist/scriptwriter). 1984:  1985: Karins ansikte (Karin's Face) (short); Dom Juan (TV). 1986: De tv? saliga (TV). 1992:  Markisinnan de Sade (TV; +scenarist/scriptwriter). 1993: Backanterna (TV). 1995:  Sista skriket (TV) (+scenarist/scriptwriter). 1997: Larmar och g?r sig till (TV) (+scenarist/scriptwriter). 2000: Bildmakarna (The Image Makers) (TV). 2003: Saraband (TV) (+scenarist/scriptwriter).

Other Films: 

1944: Hets (Torment; Frenzy) (Sj?berg) (scenarist/scriptwriter). 1947: Kvinna utan ansikte (Woman Without a Face) (Molander) (scenarist/scriptwriter). 1948: Eva (Molander) (co-scenarist/scriptwriter). 1950: Medan staden sover (While the City Sleeps) (Kjellgren) (synopsis). 1951: Fr?nskild (Divorced) (Molander) (scenarist/scriptwriter). 1956: Sista paret ut (Last Couple Out) (Sj?berg) (scenarist/scriptwriter). 1961: Lustg?rden (The Pleasure Garden) (Kjellin) (co-scenarist/scriptwriter under pseudonym "Buntel Eriksson"). 1974: Kallelsen (The Vocation) (Nykvist) (producer). 1975: Trollfl?jten (The Magic Flute) (for TV) (+scenarist/scriptwriter). 1976: Ansikte mot ansikte (Face to Face) (+co-producer, scenarist/scriptwriter) (for TV, originally broadcast in serial form); Paradistorg (Summer Paradise) (Lindblom) (producer). 1977: A Look at Liv (Kaplan) (role as interviewee). 1986: Dokument: Fanny och Alexander (Carlsson) (subject). 1992: Den Goda Viljan (The Best Intentions) (scenarist/scriptwriter); Sondagsbarn (Sunday's Children) (scenarist/scriptwriter). 1996: Enskilda samtal (TV) (scenarist/scriptwriter). 2000: Trol?sa (scenarist/scriptwriter). 2002: Persona (V) (scenarist/scriptwriter). 2005: Bergmanova sonata (TV) (scenarist/scriptwriter).

Career

Joined Svensk Filmindustri as scriptwriter, 1943; director of Helsingborg City Theatre, 1944; directed first film, Kris, 1946; began association with producer Lorens Marmstedt, and with Gothenburg Civic Theatre, 1946; began association with cinematographer Gunnar Fischer, 1948; director, Municipal Theatre, Malmo, 1952-58; began associations with Bibi Andersson and Max von Sydow, 1955; began association with cinematographer Sven Nykvist, 1959; became artistic advisor at Svensk Filmindustri, 1961; head of Royal Dramatic Theatre, Stockholm, 1963-66; settled on island of Faro 1966; established Cinematograph production company, 1968; moved to Munich, following arrest on alleged tax offences and subsequent breakdown, 1976; formed Personafilm production company, 1977; director at Munich Residenzteater, 1977-82; returned to Sweden, 1978; announced retirement from filmmaking, following Fanny and Alexander, 1982; directed These Blessed Two for Swedish television, 1985; concentrated on directing for the theater, 1985; Film Society of Lincoln Center presented a retrospective of almost all of Bergman's films as director, 1995; Brooklyn Academy of Music honored Bergman with a four-month-long Bergman Festival, 1995; The Museum of Television & Radio honored Bergman with a retrospective titled"Ingmar Bergman In Close-Up: The Television Work,"1995.

Awards: 

Golden Bear, Berlin Festival, for Wild Strawberries, 1958; Gold Plaque, Swedish Film Academy, 1958; Oscars for Best Foreign Language Film, The Virgin Spring (1961), Through a Glass Darkly (1962), and Fanny and Alexander (1983); Oscar nominations, Best Director, for Cries and Whispers (1973), Face to Face (1976), and Fanny and Alexander (1983);Oscar nominations, Best Screenplay, for Wild Strawberries (1958), Through a Glass Darkly (1962), Cries and Whispers (1973), Face to Face (1976), and Fanny and Alexander (1983);co-winner of International Critics Prize, Venice Film Festival, for Fanny and Alexander; Erasmus Prize (shared with Charles Chaplin), Netherlands, 1965; Irving G. Thalberg Memorial Award, 1970; Order of the Yugoslav Flag, 1971; Luigi Pirandello International Theatre Prize, 1971; honorary doctorate of philosophy, Stockholm University, 1975; Gold Medal of Swedish Academy, 1977; European Film Award, 1988; Le Prix Sonning, 1989; Praemium Imperiale Prize, 1991.

Background
Last Name: 
Bergman
First Name: 
Ingmar
Born: 

Ernst Ingmar Bergman in Uppsala, Sweden, 14 July 1918.

Education: 

Palmgrens School, Stockholm, and Stockholm University, 1938-40.

Family: 

Married 1) Else Fisher, 1943 (divorced 1945), one daughter; 2) Ellen Lundstr?m, 1945 (divorced 1950), two sons, two daughters; 3) Gun Grut, 1951, one son; 4) K?bi Laretei, 1959 (separated 1965; divorced), one son; 5) Ingrid von Rosen, 1971. Also one daughter by actress Liv Ullmann.

Died: 

In F?r?, Gotlands l?n, Sweden, 30 July, 2007.
Biography

Ingmar Bergman's unique international status as a filmmaker would seem assured on many grounds.

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