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There are better movies of two hours length. I loved the actress'performance.

One of the worst ways to make a cult movie is to set out to make a cult movie.

I cannot disagree more with the post above. Notorious is a well regarded Hitchcock classic. It was Bergman's film and she gave the vest performance from any Hitch films. Journey to Italy is considered the first modern film, a major classic of cinema and hailed by such influential directors as Truffaut, Godard, Rohmer, Scorsese and of course Bazan. Bogie will not be a romantic idol without the radiant and luminous Bergman. Can you picture another major actress at that time in the role of Ilsa? All three films are on the list of Sight and Sound 2012 best films ever poll.And there are still a large audience for films such as Gas light, spellbound, Anastasia and Autumn sonata.

Greetings again from the darkness. A seven time Oscar nominee and three time winner. One of the best known and most beloved actresses of all-time. Fifty year acting career. Died at age 67, mere weeks after her final performance. These are all bullet points to highlight Ingrid Bergman, the cinematic icon. However, documentarian (and fellow Swede) Stig Bjorkman pays little attention to the icon, and instead focuses on the woman.What sets this apart from many biographical portraits is Bjorkman's access to Bergman's diaries, journals, personal letters, photos, home videos, and most importantly, interviews with her four children: Pia Lindstrom, Roberto Rossellini, and twins Isabella and Ingrid Rossellini. It's a treasure trove of memories, documentation and insight into a woman who lived life on her own terms … often in direct opposition to what societal norms dictate. The film neither defends nor celebrates her free spirit; it simply reports it and allows us to sit in judgment, should we be so inclined.One of the best clips is young Ingrid's screen test where her natural beauty radiates on screen, and her expressive eyes make it obvious why David O Selznick recognized her star quality. But there are numerous other clips and photographs which show her mostly involved with her family … one of her husbands and some combination of her kids. Not fitting into the typical "motherly" box, Ingrid spent an enormous amount of time away from her kids as they were growing up. She clearly loved them very much, as evidenced by the words in her diaries and letters, and the visuals from their time together. And the interviews with her children today make it obvious they viewed her as a fun friend, rather than the nurturing mom.Another aspect that is crystal clear is the ambition and drive possessed by Ingrid. She even states "no one can have everything", and her actions and words make it obvious that acting was what brought her to life – whether on screen or on stage. It never took long on the home front for her to feel the pull of her true adventurous nature, and soon enough she was back on a movie set … leaving the kids behind.Specifics of her movie career are mostly glossed over. Casablanca has a quick segment, as does her time with Alfred Hitchcock. Instead, we get a broad perspective of the scandal that rocked the movie world … a pregnant Ingrid left her first husband (Petter Lindstrom) for her director-lover Roberto Rossellini. For the times, this was extreme impropriety and there were even boycotts of her films. No place was harder on her than the United States. Absolutely unapologetic and without remorse, Ingrid took her career to Europe. Ingrid and Roberto had three kids together, and since history has a way of repeating itself, it was only a matter of time before Roberto was with his pregnant girlfriend in India, and Ingrid moved on to producer Lars Schmidt (and his private island).The most impact from the timeline comes courtesy of the four adult children as they recall the extended times away from their mother, followed by memorable and fun stints together. Of course, they have each had many years to come to terms with a mother who frequently chose pursuing her career dreams to spending time with them. Imagine having a mother who said "I belong more to the make-believe world of theatre and film". It can make you tough and independent, or it can have the opposite effect. We hear each of them discuss.This is the wrong place to look for a career retrospective of Ingrid Bergman the actress, but it's an intimate and fascinating look at a woman who understood what was important to her, and refused to be ruled by societal expectations. Young Swedish actress Alicia Vikander provides voice-over for much of Ingrid's written word, but it's Ms. Bergman's actions and the insight from Pia, Roberto, Isabella and Ingrid that complete the full portrait of a most unusual woman. Ms. Bergman died in 1982 (age 67), just weeks after her final role in the TV movie "A Woman Called Golda"... a fitting portrait of another woman who lived life by her own rules.

Swedish author, screenwriter, film editor and director Stig Björkman's documentary feature which he wrote with screenwriters Stina Gardell and Dominika Daübenbuchel, is inspired by his chance meeting with a daughter. It premiered in the Cannes Classics section at the 68th Cannes International Film Festival in 2015, was shot on locations in and is a Sweden-Germany co-production which was produced by producer Stina Gardell. It tells the story about a Swedish daughter, sister, student, mother, wife and author who was born in Stockholm, Sweden in the early 1900s, almost a century after the birth of a Swedish 19th century opera singer known as the Swedish Nightingale, into the reign of King Gustav V (1858-1950) and the First World War (1914-1918) when a Swedish MP named Hjalmar Hammarskjöld (1862-1953) was prime minister, as the third child of her German mother named Friedel Adler and her Swedish father named Justus Bergman who was a photographer and painter.Distinctly and subtly directed by Swedish filmmaker Stig Björkman, this quietly paced documentary which is narrated by a Swedish actress and dancer, through diary notes and mostly from the person in question's point of view, draws a lyrically literary and informatively abridged portrayal of a person who in the early 1930s was admitted at the Royal Dramatic Theatre's acting school (1787-1964) in Stockholm, Sweden, met a physician named Petter Lindström, made her acting debut, went to Berlin, Germany where she was offered to do a film regarding a French 18th century seamstress named Charlotte Corday (1768-1793), met an American talent scout in New York, U.S. named Katharine Brown Barrett (1902-1995), in the 1940s became the first Scandinavian actress to be acknowledged with the Academy Award for Best Actress in a Leading Role, was chosen by an American author surnamed Hemingway for a lead role in an adaptation of one of his literary works and who once said: "If you don't like the performance you can walk out …" While notable for its versatile and atmospheric milieu depictions and reverent cinematography by cinematographers Eva Dahlgren and Malin Korkeasalo, this narrative-driven story about cinema history and one of its brightest stars where interviews with her children, collaborating actresses, a film historian and friends paints a majestic portrait of a renowned Swedish 20th century theatre and film actress, autobiographer, recipient of the Swedish Illis Quorum medal and fleeting bird who lived and worked in the United States, France, England and Italy and where a Swedish singer sings: "… Jäg sjunger filmen om oss …" or "… I sing the film about us …" contains a great and timely score by composer Michael Nyman.This historically and biographically heartrending retelling of real events which is set in Sweden, USA, France, England and Italy in the 20th century and where a radically transcending human being who as a three-year-old was introduced to her aunt named Ellen, and who in the late 1970s, more than three centuries after a French 17th century philosopher who once lived in the Swedish Empire (1611-1721) published an essay called "Discourse on the Method" (1637), started shooting a feature film with a Swedish filmmaker and a Swedish actor surnamed Josephson in Norway is described by her beloved named Pia, Roberto, Isabella and Isotta Ingrid, is impelled and reinforced by its fragmented narrative structure, rhythmic continuity, archival footage, home video recordings, photographs and comment by Ullmann: "I think she represents that which the woman's struggle for liberation is about." An extraordinary documentary feature which gained a Special Mention at the 68th Cannes Film Festival in 2015.

Ingrid Bergman – "In Her Own Words" (2015) Ingrid Bergman was a rare and brave woman, and she was of course a big and genuine actress of the very few who lived and died for art no matter the consequences for herself, her children and her husbands.This documentary is not bad, but it's not successful either. The reason why is that the documentary is simply too private, it does not become interesting to a larger audience. It's mainly private film footage (8 and 16 mm) and diary quotations over and over again. And we see and listen to Ingrid's children telling the same – more or less – again and again, and not one single bad or negative thing is said about their mother. I was not convinced. The documentary runs for 114 minutes and sadly it feels like 228 minutes.What have Stig Bjökman (the writer and director), Dominika Daubenbüchel and Stina Gardell been thinking about? This documentary would have been complete and beautifully put together IF it have had at least 3 blocks of montages with clips from Bergman's greatest parts. We got nearly 8 seconds from "Casablanca" and that was it!!! We should have SEEN and WATCHED Ingrid in Alfred Hitchcock's "Notorious" and "Spellbound" – not someone telling us about her acting in these movies! And we should have seen clips with Ingrid and Cary Copper in "For Whom the Bell Tolls" or seen Ingrid afraid to be insane in "Gaslight" or Ingrid together with Goldie Hawn in "Cactus Flower" – and I could go on and on! But we didn't. There's a saying that goes: "don't tell, show!" someone is this production should have whispered this saying to Stig Björkman.It's not until the last 10 minutes that this documentary really speeds up and get's very interesting when we meet Sigourney Weaver, Isabella Rossellini and Liv Ullmann. Weaver recalls what it was like being on stage with Ingrid in her first professional job was as an understudy in Sir John Gielguds production of "The Constant Wife". Liv Ullmann is telling us about how Ingrid and Ingmar Bergman left the set when they were making "Autumn Sonata", because they could not agree on how a dialog should be. All on the set could still hear them quarrel very loudly. Bergman and Bergman came back, Ingmar got his will and they all continued. Now that would have been interesting to see and hear much more of, especially because the movie was about a mother abandon her children for the art.What a shame, because Ingrid and we have deserved much much more.