The master: Ingmar Bergman 1918 - 2007
By Paul Schrader, film director and screenwriter of 'Taxi Driver'
I would not have made any of my films or written scripts such as Taxi Driver had it not been for Ingmar Bergman.
His death, at the age of 89, may not have been a surprise. He was an old man. But what he has left is a legacy greater than any other director. He made film-making a serious and introspective enterprise. No one had been able to pull that off until he showed up. I really wasn't that interested in being a film-maker, except in the way that Bergman redefined what you could be as a film-maker.
I think the extraordinary thing that Bergman will be remembered for, other than his body of work, was that
he probably did more than anyone to make cinema a medium of personal and introspective value. Movies by nature are, of course, very commercially driven and very accessible. No one really used cinema as private personal expression in that way. Bergman showed that you could actually do movies that were personal introspections and have them seen by general audiences.
For an entire generation, starting in the 1960s, it was a whole new way to see the very nature of cinema. It is impossible for anyone of my generation not to have been influenced by Bergman. That is just a matter of fact. He cut too wide a path down the history of cinema not to influence everybody. I can remember vividly my first taste of a Bergman film. Through a Glass Darkly, the first of Bergman's trilogy of films with Winter Light and The Silence, when I was about 17, at our local little cinema in Grand Rapids, Michigan, while I was at college. It was probably the fourth or fifth serious film I had ever seen and it just took me unawares. I had no idea that movies could be a serious enterprise.
He has a handful of masterpieces, but the film that stands above all the others is Persona. He has done a lot of visceral, painful work - even his last film, Saraband, is extraordinary - but Persona really brings together all his personal demons, as well as his relationships with women.
It's not like we have lost an ongoing voice. His body of work was completed. So we are losing one of the saints in the pantheon, which is sad to note, but it is actually an occasion to appreciate what has been left behind.
Not all his films were great. I'm not a big fan of the family reminiscence stuff which is Fanny and Alexander. I wasn't knocked out by the early domestic comedies such as Smiles of a Summer Night. After The Virgin Spring in 1959 and Through a Glass Darkly in 1961, then it really starts getting interesting. Persona was the pinnacle of that. Coming as it did in 1966, it was the great seminal film during the great seminal years of the acme of cinema. Once you got into that trilogy of Persona, The Hour of the Wolf and The Shame, it's just incredible. He reinvented himself in 1973 with Scenes from a Marriage, then he went back to the theme for Saraband, another major piece of work, in 2003.
Time magazine had a wonderful opening line in its review of Saraband. "He's old. He's old fashioned. He's out of date. How dare Ingmar Bergman make a great movie."
There are a lot of directors who are poets behind a camera. Bergman is more of the metaphysician behind the camera. Persona was his boldest film - and the Swedish cinematographer Sven Nykvist, who was shooting the films, did a lot of very interesting work in that film such as over exposures, letting stuff burn out, the way that light and dark contrasted in ways that were previously considered unacceptable and breaking some of those rules.
I was a big Bergman fan so I would tend to see each of his films the first day they were released if I was in a city where they were being shown. I do remember the anticipation of going to that first show the first day. He obviously played a role in my choice to be a critic and then to be a film-maker, and in my decision to take film seriously.
Last of the greats
* Woody Allen: "He was a friend and certainly the finest film director of my lifetime."
* Richard Attenborough: "The world has lost one of its very greatest film-makers. He taught us all so much throughout his life."
* Lars von Trier" "I am proud to say he treated me exactly like his other children - with no interest whatsoever."
* Bille August, Danish director: "He was the last big director left. The three big ones for me were Kurosawa, Fellini and Bergman. The two others had already passed and now Ingmar has also left us. He leaves a big vacuum behind. He was such an incredible, unusually bright person."
guardian