Ingrid Thulin (27 January 1926 – 7 January 2004) was a Swedish actress.
She was born as a fisherman's daughter in Sollefteå, Ångermanland in northern Sweden. She took ballet lessons as a girl and was accepted by the Stockholm Royal Dramatic Theatre's School in 1948. For years she worked with Swedish director Ingmar Bergman, where she developed her personal style, acting with neurotic intensity like in The Silence (1963) or Cries and Whispers (1972), making her the third actress of world fame coming from Sweden (after Greta Garbo and Ingrid Bergman).
She shared the best actress award at the 1958 Cannes Film Festival and received a Guldbagge Award as best actress in 1964, the first year the award was given out, for her performance in The Silence.
She was married to Harry Schein, the founder of the Swedish Film Institute, for more than 30 years until 1989, although they had lived separately for many years before the divorce.
In her later years she lived in Rome, Italy. She returned to Sweden for medical treatment and later died from cancer in Stockholm, Sweden, 20 days short of her 78th birthday.
Date of Birth
27 January 1926, Sollefteå, Västernorrlands län, Sweden
Date of Death
7 January 2004, Stockholm, Stockholms län, Sweden. (cancer)
Height
5' 7" (1.70 m)
Mini Biography
Ingrid trained as a ballet dancer and attended Stockholm's Royal Dramatic Theatre. She came to fame thanks to Bergman's "Wild Strawberries". She acted in 9 Ingmar Bergman's films. Her fame allowed her to act in Luchino Visconti's "The Damned" in 1969. Ingrid Thulin lived in Rome since the 1960's. She came back to Sweden for her health treatment recently.
IMDb Mini Biography By: Flo
Mini Biography
Along with the legendary Bibi Andersson, Liv Ullmann, Eva Dahlbeck, and Harriet Andersson, icy blonde Ingrid Thulin became one of the preeminent Swedish femme stars of Ingmar Bergman's grim, emotional film masterpieces. Born in northern Sweden, she studied ballet as a child and attended the Royal Dramatic Theatre in Stockholm. She worked in a number of Bergman's stage productions before moving to films in the late 40s. After co-starring in the classic Wild Strawberries (1957), the film that catapulted Bergman to the international film front, she shared a Cannes Film Festival award with Dahlbeck and Bibi Andersson for their participation in Bergman's Brink of Life (1958). She continued with the director in The Face (1958) Winter Light (1962), The Silence (1963), for which she won the Swedish version of the "Oscar" ("Guldbagge"), Hour of the Wolf (1968), and Cries and Whispers (1972), all the while breaking out internationally. Other important non-Bergman works include the British melodrama Return from the Ashes (1965) with Maximillian Schell and Samantha Eggar, and the controversial Visconti drama The Damned (1968). She made less of an impression in America opposite Robert Mitchum in Foreign Intrigue (1956) and in the pallid remake of The Four Horsemen of the Apocalypse (1962), in which her voice was dubbed by Angela Lansbury. She also made herself briefly known on Broadway in the short-lived production "Of Love Remembered" in 1967, and appeared on TV in the mini-series Moses, the Lawgiver" starring Burt Lancaster. Second husband Harry Schein was the founder of the Swedish Film Institute. Married in the late 1950s, they divorced in 1989. She lived in Rome since the 1960s, but returned to Stockholm for treatment of an undisclosed illness when she died at age 77.
IMDb Mini Biography By: Gary Brumburgh / gr-home@pacbell.net
Spouse
Harry Schein (1956 - 1989) (divorced)
Claes Sylwander (1952 - 1955) (divorced)
Trivia
Studied at the Royal Dramatic Theatre School in Stockholm
From the mid-50s she emerged as one of the finest dramatic stage and screen actresses of her country
One of Ingmar Bergman's favorite actresses. They made 10 movies together: Drömspel, Ett (1963) (TV), Ansiktet (1958), Efter repetitionen (1984) (TV), _Nattvardsgästerna (1963)_ , Nära livet (1958), Riten (1969) (TV), Smultronstället (1957), Tystnaden (1963), Vargtimmen (1968) and Viskningar och rop (1972).
Her father was a fisherman in a small town in Northern Sweden.
Trained as a ballet dancer in Stockholm and then as an actress at the Royal Dramatic Theatre.
In _Four Horsemen of the Apocalypse (1962)_ , her lines were dubbed by Angela Lansbury.
Head of jury at the Berlin International Film Festival in 1980
Personal Quotes
To counteract the assumption that Ingmar Bergman was hardly light-minded: "We worked lightly even in the heaviest parts."
Biography for
Ingmar Bergman
advertisement Date of Birth
14 July 1918, Uppsala, Uppsala län, Sweden
Birth Name
Ernst Ingmar Bergman
Height
5' 10½" (1.79 m)
Mini Biography
Ernst Ingmar Bergman was born 14 July 1918, son of a priest. The film and TV-series, Goda viljan, Den (1992) is biographical and shows the early marriage of his parents. The film 'Söndagsbarn' depicts a bicycle journey with his father. In the TV-mini Enskilda samtal (1996) (TV) is the trilogy closed. Here, as in 'Den Goda Viljan' Pernilla August play his mother. Note that all three movies are not always full true biographical stories. He began his career early with a puppet theatre which he, his sister and their friends played with. But he was the manager. Strictly professional he begun writing in 1941. He had written a play called 'Kaspers död' (aka 'Kaspers Death') which was produced the same year. It became his entrance into the movie business as Stina Bergman (not a relative), from the company SF (Swedish Filmindustry), had seen the play and thougt that there must be some dramatic talent in young Ingmar. His first job was to save other, more famous, writers poor scripts. Under one of that script-saving works he remebered that he had wrote a novel about his last year as a student. He took the novel, did the save-poor-script job first, then wrote a screenplay on his own novel. When he went back to SF, he delivered two scripts insteed of one. The script was Hets (1944) and was the fist Bergman screenplay that was put into film (by Alf Sjöberg). It was also in that movie Bergman did his first professional film-director job. Because Alf Sjöberg was busy, Bergman got order to shoot the last sequence of the film. Ingmar Bergman is the father of Daniel Bergman, director, and Mats Bergman, actor at the Swedish Royal Dramatic Theater. Ingmar Bergman was also CEO of the same theatre between 1963-66, where he hired almost every professional actor in Sweden. 1976 he had a famous tax problem. Bergman had trusted other people to give advice about his finances, but it turned out to be real bad advice. So he had to leave the country immediately, and so went to Germany. A few years later he got back to Sweden and made his last movie Fanny och Alexander (1982) (aka 'Fanny and Alexander'). He has retired from directing, but he still write scripts for film and TV and direct plays at the Swedish Royal Dramatic Theatre.
IMDb Mini Biography By: Anders ADe Dahnielson
Spouse
Ingrid von Rosen (11 November 1971 - 20 May 1995) (her death) 1 child
Käbi Laretei (1959 - 1969) (divorced) 1 child
Gun Grut (1951 - 1959) (divorced)
Ellen Lundström (22 July 1945 - 1950) (divorced)
Else Fisher (25 March 1943 - 1945) (divorced)
Trade Mark
Close-ups of faces
Close-ups of ticking clocks
Dynamic use of shadows
Trivia
His three favorite movies are: Utvandrarna (1971), Dolce vita, La (1960) and _Vacances de M. Hulot, Les (1953)_ .
Had a dispute with the Swedish Royal Dramatic Theatre about his production of the play 'Misantropen'. Directed it for Swedish Television instead. Ironically, the chief of Swedish Television's 'Dramatic Department' has become chief of the Royal Dramatic Theatre.
Father of (at least) nine children. They include director Daniel Bergman, (with Käbi Laretei), actress Anna Bergman, actor Mats Bergman, director Eva Bergman, airline captain Ingmar Bergman Jr. and daughter, Linn Ullmann (with actress Liv Ullmann), who played a child in several of her father's movies, became a literary critic, then novelist. Her debut novel, in 1999, was "Før du Sovner" (Before You Fall Asleep).
His son Daniel Bergman (with Käbi Laretei), is also a director.
Father of actress Anna Bergman.
Father of actor Mats Bergman
Father of director Eva Bergman
Son Ingmar Bergman Jr. is an airline captain.
Swedish Film Institute announced Bergman will donate his raw footage, photographs and manuscripts from his films and plays to a new foundation established to honor him. (5 June 2002)
For many years, he and actor Erland Josephson have had an hour-long telephone conversation once a week, on Saturdays.
Was voted the 8th Greatest Film Director of all time by Entertainment Weekly,.
Biography in: John Wakeman, editor. "World Film Directors, Volume Two, 1945-1985". Pages 103-115. New York: The H.W. Wilson Company, 1988.
He retired from filmmaking in 1984, and then in 2003, at the age of 85, he retired from directing plays.
The rock band Van Halen wrote a song called "The Seventh Seal" (from the Balance album) in honor of his films. The song talks about The Seventh Seal and The Virgin Spring.
Has a daughter, Linn Ullmann, with actress Liv Ullmann. Linn, who played a child in several of her father's movies, became a literary critic, then novelist. Her debut novel, in 1999, was "Före du sover" (Before you fall asleep).
Inspired the word "Bergmanesque"
His movies Jungfrukällan (1960), Såsom i en spegel (1961) and Fanny och Alexander (1982) were Oscar-nominated for "Best Foreign Language Film". All three movies won.
Father-in-law of Henning Mankell.
Likes to watch BMX racing on television.
He and Max von Sydow made 13 movies together: Ansiktet (1958), Beröringen (1971), Herr Sleeman kommer (1957) (TV) (not released), Jungfrukällan (1960), _Nattvardsgästerna (1963)_ , Nära livet (1958), Passion, En (1969), Rabies (1958) (TV), Sjunde inseglet, Det (1957), Skammen (1968), Smultronstället (1957), Såsom i en spegel (1961) and Vargtimmen (1968).
He and Bibi Andersson made 13 movies together: Ansiktet (1958), Beröringen (1971), Djävulens öga (1960), För att inte tala om alla dessa kvinnor (1964), Nära livet (1958), Herr Sleeman kommer (1957) (TV) (not released), Passion, En (1969), Persona (1966), Scener ur ett äktenskap (1973), Rabies (1958) (TV), Sjunde inseglet, Det (1957), Smultronstället (1957) and Sommarnattens leende (1955).
He and Liv Ullmann made 10 movies together: Ansikte mot ansikte (1976), Höstsonaten (1978), Passion, En (1969), Persona (1966), Saraband (2003) (TV), Scener ur ett äktenskap (1973), _Serpent's Egg, The (1977)_ , Skammen (1968), Vargtimmen (1968) and Viskningar och rop (1972).
He and Ingrid Thulin made 10 movies together: Drömspel, Ett (1963) (TV), Ansiktet (1958), Efter repetitionen (1984) (TV), _Nattvardsgästerna (1963)_ , Nära livet (1958), Riten (1969) (TV), Smultronstället (1957), Tystnaden (1963), Vargtimmen (1968) and Viskningar och rop (1972).
His Top 11 films are (as presented at Goteborg Film Festival, Sweden in 1994): The Circus (1928) Quai des brumes, Le (1938) Dyrygent (1980) _Kvarteret korpen (1963)_ Passion de Jeanne d'Arc, La (1928) Körkarlen (1921) Rashômon (1950) Strada, La (1954) Sunset Blvd. (1950) Bleierne Zeit, Die (1981) Andrey Rublyov (1969)
Erland Josephson appeared in 14 Bergman films as an actor in a span of almost 60 years (1946-20040: Det regnar på vår kärlek (1946) ("It Rains on Our Love" (1946)), Till glädje (1950) ("To Joy" (1950), _Ansiktet (1958_ ) ("The Magician" (1959)), Nära livet (1958) ("Brink of Life" (1959)), Vargtimmen (1968) ("Hour of the Wolf" (1968)), Passion, En (1969) ("The Passion of Anna" (1970)), Viskningar och rop (1972) ("Cries and Whispers" (1972)), Scener ur ett äktenskap (1973) ("Scenes from a Marriage" (1974)), Trollflöjten (1975) (TV) ("The Magic Flute" (1975)), Ansikte mot ansikte (1976) ("Face to Face (1976)), Höstsonaten (1978) ("Autumn Sonata" (1978)), Fanny och Alexander (1982), Efter repetitionen (1984) (TV) ("After the Rehearsal" (1984)), Larmar och gör sig till (1997) (TV) ("In the Presence of a Clown" (1997)), and Saraband (2003) (TV). In addition to acting in Bergman's films, Josephson also co-wrote Bergman's För att inte tala om alla dessa kvinnor (1964) ("All These Women (1964)), one of Bergman's rare comedies (and his first film shot in color).
No relation to Ingrid Bergman, although he was married to another Ingrid, Ingrid Bergman.
Among Woody Allen's biggest idols.
Published "Tre dagböcker", including the diaries of him, his fifth wife Ingrid and their daughter Maria von Rosen (2004).
Was chosen the world's greatest living filmmaker by "Time" magazine (11 July 2005).
After their daughter Maria had been born out of wedlock in 1959, he finally married Ingrid Bergman (Ingrid von Rosen) in 1971. This was his only marriage which didn't end in divorce.
Personal Quotes
"I have always admired him, and I wish I could be a equally good filmaker as he is, but it will never happen. His love for the cinema almost gives me a guilty conscience." - Steven Spielberg
"The theater is like a faithful wife. The film is the great adventure -- the costly, exacting mistress."
"No form of art goes beyond ordinary consciousness as film does, straight to our emotions, deep into the twilight room of the soul."
"I hope I never get old so I get religious."
In a quarrel with one of my sons, I said: I know I've been a lousy father. He said: A father? You haven't been a father at all!
[on Orson Welles] "For me he's just a hoax. It's empty. It's not interesting. It's dead. Citizen Kane, which I have a copy of- is all the critics' darling, always at the top of every poll taken, but I think it's a total bore. Above all, the performances are worthless. The amount of respect that movie's got is absolutely unbelievable."
[On Orson Welles] "I've never liked Welles as an actor, because he's not really an actor. In Hollywood you have two categories, you talk about actors and personalities. Welles was an enormous personality, but when he plays Othello, everything goes down the drain, you see, that's when he's croaks. In my eyes he's an infinitely overrated filmmaker."
[On Godard] "I've never gotten anything out of his movies. They have felt constructed, faux intellectual and completely dead. Cinematographically uninteresting and infinitely boring. Godard is a ******* bore. He's made his films for the critics. One of the movies, Masculin, féminin, was shot here in Sweden. It was mind-numbingly boring."
"Among today's directors I'm of course impressed by Steven Spielberg and Scorsese, and Coppola, even if he seems to have ceased making films, and Steven Soderbergh - they all have something to say, they're passionate, they have an idealistic attitude to the filmmaking process. Soderbergh's Traffic is amazing. Another great couple of examples of the strength of American cinema is American Beauty and Magnolia."
[on Michelangelo Antonioni] "He's done two masterpieces, you don't have to bother with the rest. One is Blow-Up, which I've seen many times, and the other is La Notte, also a wonderful film, although that's mostly because of the young Jeanne Moreau. In my collection I have a copy of Il Grido, and damn what a boring movie it is. So devilishly sad, I mean. You know, Antonioni never really learned the trade. He concentrated on single images, never realising that film is a rhythmic flow of images, a movement. Sure, there are brilliant moments in his films. But I don't feel anything for L'Avventura, for example. Only indifference. I never understood why Antonioni was so incredibly applauded. And I thought his muse Monica Vitti was a terrible actress."
"I write scripts to serve as skeletons awaiting the flesh and sinew of images."
"I think I have made just one picture that I really like, and that is Winter Light. Everything is exactly as I wanted to have it, in every second of this picture."
"Film as dream, film as music. No art passes our conscience in the way film does, and goes directly to our feelings, deep down into the dark rooms of our souls."
Where Are They Now
(May 2004) Has now retired from directing, emptied his apartment in Stockholm and his room at the Dramatic Theater, and lives permanently at Fårö, Gotland (Sweden).
(January 2007) Recovering from hip replacement surgery.
Ernst Ingmar Bergman (help·info) (IPA: ['ɪŋmar 'bærjman] in Swedish) (born July 14, 1918) is a Swedish stage and film director who is one of the key film auteurs of the Twentieth Century.
Biography
Bergman was born in Uppsala, Sweden, to a Lutheran minister of Danish descent, Erik Bergman (later chaplain to the King of Sweden), and his wife, Karin (née Åkerblom). He grew up surrounded by religious imagery and discussion. He had a strict upbringing and was locked up in dark closets for infractions such as wetting the bed. Bergman performed two five-month stretches of mandatory military service and attended Stockholm High School and Stockholm University, not completing his course in literature and art but instead becoming interested in theatre and later in cinema (though he had become a "genuine movie addict"[1] by the early 1930s).
Although he grew up in a devout Lutheran household, Bergman states that he lost his faith at age eight but came to terms with this fact only when making Winter Light.[2]
Since the early sixties (with an interruption living in Germany), Bergman lived in Fårö, where he recorded a number of his films. Bergman subsequently moved to Munich, following a protracted battle with the Swedish government over alleged tax evasion, and did not return to make another film in Sweden until 1982, when he directed Fanny and Alexander. Bergman said this would be his last film, and that he would go on to direct theater. Since that time he has made a number of films for television
As a director, Bergman favored intuition over intellect, and chose to be unaggressive in dealing with actors. Bergman saw himself as having a great responsibility toward them, whom he viewed as collaborators in a psychologically vulnerable position. He states that a director must be both honest and supportive to allow others their best work.
His films usually deal with existential questions of mortality, loneliness, and faith; they also tend to be direct and not overtly stylized. Persona, one of Bergman's most famous films, is unusual among Bergman's work in being both existentialist and avant-garde.
Bergman usually wrote his own scripts, thinking about them for months or years before starting the actual process of writing, which he views as somewhat tedious. His earlier films are carefully structured, and are either based on plays or written with other authors, usually as a matter of convenience. Bergman states that in his later works, when his actors sometimes started wanting to do things differently from what he had intended, he let them, calling the results "disastrous" when he didn't. Throughout his career, Bergman increasingly let his actors improvise their dialogue. In his latest films, he wrote just the ideas behind the dialogue, keeping in mind the general direction he thought it should take.
Bergman developed a personal "repertory company" of Swedish actors whom he repeatedly cast in his films, including Max von Sydow, Bibi Andersson, Harriet Andersson, Erland Josephson, the late Ingrid Thulin, and Gunnar Björnstrand, each of whom appeared in at least five Bergman features. Norwegian actress Liv Ullmann was the last to join this group (in the 1966 film Persona), and ultimately became most closely associated with Bergman, both artistically and personally.
Bergman began working with Sven Nykvist, his cinematographer, in 1953. The two of them have sufficient rapport to allow Bergman not to worry about the composition of a shot until the day before it is filmed. On the morning of the shoot, he spoke to Nykvist briefly about the mood and composition he hoped for, and then leaves him to work without interruption or comment until they discuss the next day's work.
When viewing daily rushes, Bergman stressed the importance of being critical but unemotional, claiming that he asks himself not if the work is great or terrible, but if it is sufficient or if it needs to be reshot.
Bergman encourages young directors not to direct any film that does not have a "message," but to wait until one comes along that does, yet admits that he himself is not always sure of the message of some of his films. By Bergman's own accounts, he has never had a problem with funding. He cites two reasons for it: one, that he does not live in the United States, which he views as obsessed with box-office earnings; and two, that his films tend to be low-budget affairs. (Cries and Whispers, for instance, was finished for about $450,000, while Scenes from a Marriage — a six-episode television feature — cost only $200,000.) Bergman left Sweden for Munich when accused of tax evasion. Though he was later cleared of the charges, he remained in Munich and did not film again in Sweden until 1982. In 1982 he directed Fanny and Alexander. Bergman stated that the film would be his last, and that afterwards he would focus on directing theater. Since then he has directed a number of television specials and written several additional scripts, though he does continue to work in theater. In 2003, Bergman, at 84 years old, directed a new film, Saraband, that represents a departure from his previous works.
Although Bergman is universally famous for his contribution to cinema, he has been an active and productive stage director all his life, and has been manager and director of a number of the most prestigious theatres in Sweden, notably the Malmö city theatre in the 1950s and the Stockholm Royal Dramatic Theatre [the national stage of Sweden; executive director there 1963-66 and active as stage director into the 1990s] as well as the Residenz-Theater of Munich, Germany (1977-84). Many of his star actors are people with whom he began working on stage, and a number of people in the "Bergman troupe" of his 1960s films came from Malmö city theatre.
When asked about his movies, he says he holds Winter Light [1], Persona, and Cries and Whispers in the highest regard, though in an interview in 2004, Bergman said that he is 'depressed' by his own films and cannot watch them anymore. [2] In these films, he says, he managed to push the medium to its limit. While he has denounced the critical classification of three of his films (Through a Glass Darkly, Winter Light, and The Silence) as a predetermined trilogy, saying he had no intention of connecting them and cannot see any common motifs in them,[3] this contradicts the introduction Bergman himself wrote in 1964 when he had the three scripts published in a single volume: "These three films deal with reduction. Through a Glass Darkly - conquered certainty. Winter Light - penetrated certainty. The Silence - God's silence - the negative imprint. Therefore, they constitute a trilogy." Clearly, The Criterion Collection sees the films as a trilogy: they have released all three on DVD individually and as a boxed set. It should be noted that Bergman, like many creative artists, is sometimes apt to express himself in a sweeping way, even on his own work, and he has stated on numerous occasions (for example in the interview book Bergman on Bergman) that The Silence meant the end of an era when religious questions were a major concern in his films.
Bergman has been married five times:
25 March 1943–1945, to Else Fisher
22 July 1945–1950, to Ellen Lundström
1951–1959, to Gun Grut
1959–1969, to Käbi Laretei
11 November 1971–20 May 1995, to Ingrid von Rosen
The first four marriages ended in divorce, while the last ended when his wife died of stomach cancer.
His daughter, Eva Bergman (born 1945), is also a director, as is his son Daniel Bergman. He is also the father of writer Linn Ullmann, with actress Liv Ullmann. In all, Bergman has nine (acknowledged) children, of whom only two were given birth to by wives of his–Daniel by his penultimate wife and Maria von Rosen by his last wife, who gave birth to her twelve years before she married Bergman. Other children include actress Anna Bergman, actor Mats Bergman, and airline captain Ingmar Bergman, Jr.
In 1971, Bergman received The Irving G. Thalberg Memorial Award at the Academy Awards ceremony. Three of his films have won the Academy Award for Best Foreign Language Film: The Virgin Spring in 1961; Through a Glass Darkly in 1962; and Fanny and Alexander in 1984.
Six more of his films have received Academy Award nominations:
Wild Strawberries (1959) Best Writing, Story and Screenplay - Written directly for the screen
Through a Glass Darkly (1962) Best Writing, Story and Screenplay - Written directly for the screen
Cries and Whispers (1973) Best Picture (nominated as producer), Director and Writing - Story and Screenplay based on factual material or material not previously published or produced
Face to Face (1976) Best Director
Autumn Sonata (1978) Best Writing, Screenplay written directly for the screen
Fanny and Alexander (1982) Best Director and Writing - Screenplay written directly for the screen
Many filmmakers worldwide, including Americans Woody Allen and Robert Altman, and Russian director Andrei Tarkovsky, have cited the work of Bergman as a major influence on their work.
Filmography
Crisis (1946) (Kris)
It Rains on Our Love (1946) (Det regnar på vår kärlek)
A Ship to India (1947) (Skepp till India land)
Music in Darkness (1948) (Musik i mörker)
Port of Call (1948) (Hamnstad)
Prison (1949) (Fängelse)
Thirst / Three Strange Loves (1949) (Törst)
This Can't Happen Here (1950) (Sånt händer inte här)
To Joy (1950) (Till glädje)
Summer Interlude (1951) (Sommarlek)
Secrets of Women (1952) (Kvinnors väntan)
Sawdust and Tinsel (1953) (Gycklarnas afton)
Summer with Monika (1953) (Sommaren med Monika)
A Lesson in Love (1954) (En lektion i kärlek)
Dreams (1955) (Kvinnodröm)
Smiles of a Summer Night (1955) (Sommarnattens leende)
The Seventh Seal (1957) (Det sjunde inseglet)
Wild Strawberries (1957) (Smultronstället)
The Magician / The Face (1958) (Ansiktet )
Brink of Life (1958) (Nära livet)
The Devil's Eye (1960) (Djävulens öga)
The Virgin Spring (1960) (Jungfrukällan) (won Academy Award for Best Foreign Language Film)
Through a Glass Darkly (1961) (Såsom i en spegel) (won Academy Award for Best Foreign Language Film)
Winter Light (1963) (Nattvardsgästerna)
The Silence (1963) (Tystnaden)
All These Women (1964) (För att inte tala om alla dessa kvinnor)
Persona (1966)
Hour of the Wolf (1967) (Vargtimmen)
Shame (1968) (Skammen)
The Rite (1968) (Riten) (TV)
The Passion of Anna (1969) (En passion)
The Touch (1971) (Beröringen)
Cries and Whispers (1973) (Viskningar och rop) (won Academy Award for Best Cinematography)
Scenes from a Marriage (1973) (Scener ur ett äktenskap)
The Magic Flute (1975) (Trollflöjten), first shown on Swedish television, followed by a cinematic release
Face to Face (1976) (Ansikte mot ansikte)
The Serpent's Egg (1977) (Das Schlangenei)
Autumn Sonata (1978) (Höstsonaten)
From the Life of the Marionettes (1980) (Aus dem Leben der Marionetten)
Fanny and Alexander (1982) (Fanny och Alexander) (won 4 Academy Awards, including one for Best Foreign Language Film)
Karin's Face (1984) (Karins ansikte) (TV)
After the Rehearsal (1984) (Efter repetitionen)
In The Presence of a Clown (1997) (Larmar och gör sig till) (TV)
Saraband (2003) (TV)
Screenwriting works
Hets (Frenzy or Torment in English) (1944) (Directed by Alf Sjöberg)
Kvinna utan ansikte (1947) (Directed by Gustaf Molander)
Eva (1948) (Directed by Gustaf Molander)
Medan staden sover (1950) (Directed by Lars Erik Kjellgren)
Frånskild (1951) (Directed by Gustaf Molander)
Sista paret ut (1956) (Directed by Alf Sjöberg)
Lustgården (1961) (Directed by Alf Kjellin)
The Best Intentions (1992) (Den goda viljan) (Directed by Bille August)
Söndagsbarn (1992) (Directed by Daniel Bergman)
Faithless (2000) (Trolösa) (Directed by Liv Ullmann)
Stage productions and radio theatre credits
List of plays that Ingmar Bergman has directed for the stage and/or radio theatre; source IngmarBergman.se.
Rosmersholm (radio theatre; 2004)
The Pelican / Death Island (radio theatre; 2003)
Ghosts (Dramaten; 2002)
John Gabriel Borkman (radio theatre; 2001)
Mary Stuart (Dramaten; 2000)
The Ghost Sonata (Dramaten; 2000)
Storm Weather (radio theatre; 1999)
The Imagemakers (Dramaten; 1998)
The Bacchae (Dramaten; 1996)
Harald & Harald (Dramaten; 1996)
Yvonne, Princess of Burgundy (Dramaten; 1995)
The Misanthrope (Dramaten; 1995)
The Winter's Tale (Dramaten; 1994)
Goldberg Variations (Dramaten; 1994)
The Time and the Room (Dramaten; 1993)
The Last Gasp (SFI/Dramaten; 1993)
Peer Gynt (Dramaten; 1991)
The Bacchae (Royal Swedish Opera/SVT/CD; 1991)
Miss Julie (BAM; 1991)
A Spiritual Matter (radio theatre; 1990)
A Doll's House (Dramaten; 1989)
Madame de Sade (Dramaten; 1989 - also TV theatre 1992)
Long Day's Journey into Night (Dramaten; 1988)
Hamlet (Dramaten; 1986)
A Dream Play (Dramaten; 1986)
Miss Julie (Dramaten; 1985)
John Gabriel Borkman (Rezidenstheater München; 1985)
A Hearsay (radio theatre; 1984)
The Dance of the Rainsnakes (Rezidenstheater München; 1984)
King Lear (Dramaten; 1984)
Dom Juan (Landestheater Salzburg/Cuvilliéstheater München; 1983)
Nora/Julie/Scenes from a Marriage (Residenztheater/Marstall; 1981)
Yvonne, Princess of Burgundy (Residenztheater München; 1980)
Hedda Gabler (Residenztheater München; 1979)
Tartuffe (Residenztheater München; 1979)
Three Sisters (Residenztheater München; 1978)
A Dream Play (Residenztheater München; 1977)
Twelfth Night, or What You Will (Dramaten; 1975)
To Damascus (Dramaten; 1974)
The Misanthrope (Det Kongelige Teater/TV; 1973)
The Ghost Sonata (Dramaten; 1973)
The Wild Duck (Dramaten; 1972)
Show (Dramaten; 1971)
Hedda Gabler (Royal National Theatre/Cambridge Theatre; 1970)
The Dream Play (Dramaten; 1970)
Woyzeck (Dramaten; 1969)
Six Characters in Search of an Author (Nationaltheatret; 1967)
School for Wives/The Criticism of the School for Wives (Dramaten; 1966)
The Investigation (Dramaten/radio theatre; 1966)
Tiny Alice (Dramaten; 1965)
Don Juan (Dramaten at Chinateatern; 1965)
Hedda Gabler (Dramaten; 1964)
Three Knives from Wei (Dramaten; 1964)
The Legend (Dramaten; 1963)
Who's Afraid of Virginia Woolf? (Dramaten; 1963)
The Rake's Progress (Royal Swedish Opera; 1961)
Playing with Fire (radio theatre; 1961)
The Seagull (Dramaten; 1961)
First Warning (radio theatre; 1960)
The People of Värmland (Malmö City Theatre; 1958)
He Who Nothing Owns (radio theatre; 1958)
Ur-Faust (Malmö City Theatre; 1958)
The Legend (Malmö City Theatre/radio theatre; 1958)
The Misanthrope (Malmö City Theatre; 1957)
Counterfeiters (radio theatre; 1957)
The Prisoner (radio theatre; 1957)
Peer Gynt (Malmö City Theatre; 1957)
Erik XIV (Malmö City Theatre; 1956)
Portrait of a Madonna (radio theatre; 1956)
Cat on a Hot Tin Roof (Malmö City Theatre; 1956)
The Tunnel (radio theatre; 1956)
Everyman (radio theatre; 1956)
Vox humana (radio theatre; 1956)
The Poor Bride (Malmö City Theatre; 1956)
Grandma and Our Lord (radio theatre; 1956)
Leah and Rachel (Malmö City Theatre; 1955)
The Monk Strolls in the Meadow (at ?; 1955)
The Ball (radio theatre; 1955)
Wood Painting (Malmö City Theatre, Intiman; 1955)
The Tea House of the August Moon (Malmö City Theatre; 1955)
Don Juan (Malmö City Theatre; 1955)
The Apple-Tree Table (radio theatre; 1954)
Twilight Games (Malmö City Theatre; 1954)
The Merry Widow (Malmö City Theatre; 1954)
Wood Painting (radio theatre; 1954)
The Ghost Sonata (Malmö City Theatre; 1954)
The Castle (Malmö City Theatre, Intiman; 1953)
Six Characters in Search of an Author (Malmö City Theatre, Intiman; 1953)
The Dutchman (radio theatre; 1953)
A Caprice (radio theatre; 1953)
Unto My Fear (radio theatre; 1953)
The Restless Heart (radio theatre; 1952)
The Crown Bride (Malmö City Theatre; 1952)
The Day Ends Early (radio theatre; 1952)
Easter (radio theatre; 1952)
Blood Wedding (radio theatre; 1952)
Murder at Barjärna (Malmö City Theatre; 1952)
Crimes and Crimes (radio theatre; 1952)
The Guiltburden of the Night (radio theatre; 1952)
The People of Värmland (radio theatre; 1951)
The Rose Tattoo (Norrköping-Linköping City Theatre; 1951)
Summer (radio theatre; 1951)
The Country Girl (Folkparkerna; 1951)
The City (radio theatre; 1951)
Light in the Schack (Dramaten; 1951)
A Shadow / Medea (Intiman; 1950)
The Three-penny Opera (Intiman; 1950)
Divine Words (Gothenburg City Theatre; 1950)
Come Up Empty (radio theatre; 1949)
A Streetcar Named Desire (Gothenburg City Theatre; 1949)
The Restless Heart (Gothenburg City Theatre; 1949)
Mother Love (at ?; 1948)
Thieves' Carnival (Gothenburg City Theatre; 1948)
Lodolezzi Sings (radio theatre; 1948)
Macbeth (Gothenburg City Theatre; 1948)
Dancing on the Pier (Gothenburg City Theatre; 1948)
Playing with Fire (radio theatre; 1947)
Unto My Fear (Gothenburg City Theatre; 1947)
The Waves (radio theatre; 1947)
Magic (Gothenburg City Theatre; 1947)
The Dutchman (radio theatre; 1947)
The Day Ends Early (Gothenburg City Theatre]]; 1947)
Summer (radio theatre; 1946)
Caligula (Gothenburg City Theatre; 1946)
Rachel and the Cinema Doorman (Malmö City Theatre; 1946)
Requiem (Helsingborg City Theatre/radio theatre; 1946)
The Pelican (Malmö City Theatre, Intiman; 1945)
Rabies (Helsingborg City Theatre/radio theatre; 1945)
Jacobowsky and the Colonel (Helsingborg City Theatre; 1945)
Reduce Morals (Helsingborg City Theatre; 1945)
The Legend (Helsingborg City Theatre; 1945)
Kriss-Krass-Filibom: New Year's Cabaret (Helsingborg City Theatre; 1945)
The Tinder Box (Helsingborg City Theatre; 1944)
Macbeth (Helsingborg City Theatre; 1944)
When the Devil Makes an Offer (Helsingborg City Theatre; 1944)
The Ascheberg Widow at Wittskövle (Helsingborg City Theatre; 1944)
Little Red Riding Hood (Boulevardteatern; 1944)
The Gambling Hall/Mr. Sleeman Cometh (Borgarskolan; 1944)
The Hotel Room (Boulevardteatern; 1944)
The Fun Fair (Kårhusscenen; 1943)
Niels Ebbesen (Borgarskolan; 1943)
En däjlig rosa (A beautiful rose) (Folkparkerna; 1943)
Geography and Love (Folkparkerna; 1943)
Just Before Awakening (Kårhusscenen; 1943)
U-boat 39 (Dramatikerstudion; 1943)
When the Devil Makes an Offer (SU - Student Theatre; 1943)
A Midsummer Night's Dream (Norra Latin; 1942)
Death of Punch (SU - Student Theatre; 1942)
Beppo the Clown (Medborgarhuset/Folkparkerna; 1942)
Little Red Riding Hood (Medborgarhuset/Folkparkerna; 1942)
Sniggel snuggel / The Three Stupidities (Medborgarteatern - Sagoteatern; 1942)
Bluebird (Medborgarteatern - Sagoteatern; 1941)
A Midsummer Night's Dream (Medborgarteatern - Sagoteatern; 1941)
A Ghost Sonata (Medborgarteatern; 1941)
The Tinder Box (Medborgarhuset; 1941)
The Father (Folke Walder's tour at Kårhusscenen; 1941)
Swanwhite (Mäster Olofs-gården; 1940)
The Merchant of Venice (Norra Latin; 1940)
The Pelican (Kårhusscenen; 1940)
Return (at ?; 1940)
The Hour Glass/The Pot of Broth (Stortorget 3 IV; 1940)
Macbeth (Mäster-Olofs-gården; 1940)
The Black Glove (Mäster Olofs-gården; 1940)
In Betlehem (Mäster Olofs-gården; 1940)
The Man Who Lived His Life Over (Mäster Olofs-gården; 1939)
Christmas/Advent (Mäster Olofs-gården; 1939)
Autumn Rhapsody/The Romantics (Mäster Olofs-gården; 1939)
Evening Cabaret For the Entire Family (Mäster Olofs-gården; 1939)
Lucky Per's Journey (Mäster Olofs-gården; 1939)
The Hangman/The Golden Chariot (Mäster Olofs-gården; 1939)
Outward Bound (Mäster Olofs-gården; 1938)