miércoles, 9 de agosto de 2017

Ingmar Bergman's Favourite Films. Las películas preferidas de Ingmar Bergman - Filmmakers and Their Favorite Films by Peter


Ingmar Bergman's Favourite Films
Las películas preferidas de Ingmar Bergman 

Filmmakers and Their Favorite Films by Peter



"Андрей Рублёв" (1971). Андрей Арсеньевич Тарковский
"Andrei Rublev" (1971). Andrei Arsenevich Tarkovski
Анатолий Солоницын (Андрей Рублёв) - Anatoli Solonitsin (Andrei Rublev)

 Ingmar Bergman selected these as his eleven favourite films at the Göteborg Film Festival in 1994 (Ingmar Bergman seleccionó sus películas favoritas durante el Festival de Cine de Göteborg en 1994):

- "Андрей Рублёв" (Andrei Rublev) (1971). Андрей Арсеньевич Тарковский (Andrei Tarkovsky)
- "The Circus" (1928). Charles Chaplin
- "Dyrygent" (The Conductor) (1980). Andrzej Wajda
- "Die bleierne Zeit" (Marianne and Juliane) (1981). Margarethe von Trotta
- "La Passion de Jeanne d'Arc" (The Passion of Joan of Arc) (1928). Carl Theodor Dreyer
- "Körkarlen" (The Phantom Carriage) (1921). Victor Sjöström
- "Le Quai des brumes" (Port of Shadows) (1938). Marcel Carné
- "Kvarteret Korpen" (Raven's End) (1963). Bo Wilderberg
- "羅生門" (Rashomon) (1950). 黒澤 明 (Akira Kurosawa)
- "La strada" (1954). Federico Fellini
- "Sunset Boulevard" (1950). Billy Wilder


Andrei Rublev - Andrei Tarkovsky - "My discovery of Tarkovsky's first film was like a miracle. Suddenly I found myself standing at the door of a room, the key to which, until then, had never been given to me. It was a room I had always wanted to enter and where he was moving freely and fully at ease. I felt encouraged and stimulated: someone was expressing what I had always wanted to say without knowing how. Tarkovsky is for me the greatest, the one who invented a new language, true to the nature of film, as it captures life as a reflection, life as a dream" - Ingmar Bergman


The Circus - Charlie Chaplin


The Conductor - Andrzej Wajda


Marianne and Juliane - Margarethe von Trotta


The Passion of Joan of Arc - Carl Theodor Dreyer


The Phantom Carriage - Victor Sjöström - "Getting to know Victor Sjostrom - first through his pictures, and then by meeting him in person - was to me a tremendous personal experience. It all began very early with The Phantom Carriage. I must have been around 12, 13. It made a very deep impression on me. I was deeply shaken by that film. Not that I understood it or anything. I rather think I was struck by its enormous cinematographic power. It was an entirely emotional experience. I can still remember it. I remember certain sequences, certain scenes that made an enormous impression on me" - Ingmar Bergman


Port of Shadows - Marcel Carné

Raven’s End - Bo Wilderberg

Rashomon - Akira Kurosawa - "Now I want to make it plain that The Virgin Spring must be regarded as an aberration. It's touristic, a lousy imitation of Kurosawa" - Ingmar Bergman

La strada - Federico Fellini - (In an interview, Bergman shared some thoughts about Federico Fellini.)
 Bergman: "We were supposed to collaborate once, and along with Kurosawa make one love story each for a movie produced by Dino de Laurentiis. I flew down to Rome with my script and spent a lot of time with Fellini while we waited for Kurosawa, who finally couldn't leave Japan because of his health, so the project went belly-up. Fellini was about to finish Satyricon. I spent a lot of time in the studio and saw him work. I loved him both as a director and as a person, and I still watch his movies, like La Strada and that childhood remembrance - what's that called again?
(The interviewer has also seen the movie several times, but just now the title slips his mind. Bergman laughs delightedly.)
Bergman: "Great that you're also a bit senile! That pleases me"
(Later the same day, several hours after the interview, the phone rings.) Bergman: "AMARCORD!"

Sunset Boulevard - Billy Wilder


Other favourites:


"
Berg-Ejvind och hans hustru" (The Outlaw and His Wife) (1918). Victor Sjöström


"Der letzte Mann" (The Last Laugh) (1924). Friedrich Wilhelm Murnau


"Gösta Berlings saga" (The Saga of Gösta Berling) (1924). Mauritz Stiller


"Le Fantôme du Moulin-Rouge" (The Phantom of the Moulin Rouge) (1925). René Clair


"Faust" (1926). Friedrich Wilhelm Murnau


"Sunrise: A Song of Two Humans" (1927). Friedrich Wilhelm Murnau - "I suppose I must have a particular weakness for silent films from the second half of the twenties, before the cinema was taken over by sound. At that time, the cinema was in the process of creating its own language. There was Murnau and The Last Laugh, with Jannings, a film told solely in images with a fantastic suppleness; then his Faust, and finally his masterpiece, Sunrise. Three astonishing works that tell us that Murnau, at the same time as Stroheim in Hollywood, was well on the way to creating a magnificently original and distinct language. I have many favourites among the German films of this period" - Ingmar Bergman


Tabu (Tabu: A Story of the South Seas) (1931). Friedrich Wilhelm Murnau

"Pépé le Moko" (1937). Julien Duvivier - "Hôtel du Nord" (1938). Marcel Carné - "Le jour se lève" (1939). Marcel Carné - "Carné and Duvivier were decisive influences in my wanting to become a filmmaker. It was between 1936 and 1939 when seeing Carné’s Quai des brumes, Hôtel du Nord and Le jour se lève, and Duvivier’s Pépé le Moko and Un carnet de bal had a huge impact on me. I told myself that, if I ever managed to become a director, that was how I wanted to make films, like Carné! Those films affected me enormously" - Ingmar Bergman


"Great Expectations" (1946). David Lean


"Le Journal d'un curé de campagne" (Diary of a Country Priest) (1951). Robert Bresson - "I felt a strong affinity with Bernanos' [the author] and Bresson's Mouchette. It's a film I would have liked to have made myself, but which I didn't understand. In Mouchette the motif is expressed clearly and explicitly, free from all impurities. The girl in Mouchette and the girl in The Devil's Wanton [Prison] are sisters, sisters in two similar worlds. But while The Devil's Wanton is full of quirks and divagation and coquetry and jumps about all over the place, Mouchette is clear as daylight. It’s a pure work of art. I'm also tremendously fond of The 'Diary of a Country Priest', one of the most remarkable works ever made. My 'Winter Light' was very much influenced by it" - Ingmar Bergman


"Les Vacances de Monsieur Hulot" (Monsieur Hulot’s Holiday) (1953). Jacques Tati


"Psycho" (1960). Alfred Hitchcock - "I think he's a very good technician. And he has something in Psycho, he had some moments. Psycho is one of his most interesting pictures because he had to make the picture very fast, with very primitive means. He had little money, and this picture tells very much about him. Not very good things. He is completely infantile, and I would like to know more–no, I don't want to know–about his behaviour with, or, rather, against women. But this picture is very interesting" - Ingmar Bergman


"La dolce vita" (1960). Federico Fellini



"La notte" (1961). Michelangelo Antonioni - "He's done two masterpieces, you don't have to bother with the rest. One is Blow-Up (1966), which I've seen many times, and the other is La Notte (1961), also a wonderful film, although that's mostly because of the young Jeanne Moreau. In my collection I have a copy of Il Grido (1957) 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 realizing 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 (1960), for example. Only indifference. I never understood why Antonioni was so incredibly applauded. And I thought his muse Monica Vitti was a terrible actress" - Ingmar Bergman


"Syskonbädd 1782" (My Sister My Love) (1966). Vilgot Sjöman


"Mouchette" (1967). Robert Bresson - "Oh, Mouchette! I loved it, I loved it! But Balthazar was so boring, I slept through it. Mouchette… is a saint and she takes everything upon herself, inside her, everything that happens around her…. That is my feeling, but this Balthazar, I didn’t understand a word of it, it was so completely boring" - Ingmar Bergman


"Utvandrarna" (The Emigrants) (1971). Jan Troell


"Edvard Munch" (1974). Peter Watkins - "A work of genius" - Ingmar Bergman


"Ett anständigt liv" (A Decent Life) (1979). Stefan Jarl


"Mitt liv som hund" (My Life as a Dog) (1985). Lasse Hallström


"Очи чёрные / Oci ciornie" (Dark Eyes) (1987). Никита Сергеевич Михалков (Nikita Mikhalkov)


"Tous les matins du monde" (1991). Alain Corneau


"Hamsun" (1996). Jan Troell


"Festen" (The Celebration) (1998). Thomas Vinterberg


"Fucking Åmål" (Show Me Love) (1998). Lukas Moodysson


"American Beauty" (1999). Sam Mendes - "Magnolia" (1999). Paul Thomas Anderson - "Traffic" (2000). Steven Soderbergh - "Among today's directors I'm of course impressed by Steven Spielberg and Scorsese [Martin Scorsese], and Coppola [Francis Ford 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 (2000) is amazing. Another great couple of examples of the strength of American cinema is American Beauty (1999) and Magnolia (1999)" - Ingmar Bergman 



Ernst Ingmar Bergman, född 14 juli 1918 i Uppsala, död 30 juli 2007 på Fårö, var en svensk film- och teaterregissör, manusförfattare, teaterchef, dramatiker och författare. Han var och är fortfarande en av Sveriges internationellt mest kända kulturpersonligheter och räknas allmänt som en av de främsta regissörerna i filmhistorien


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