![]() ![]() ![]() The only escape Ingmar had from the cruelties of growing up in a so-called religious family was his little puppet theatre and a magic lantern or laterna magica whose flickering images he projected on his mother’s bedsheet doing duty for a cinema screen.īoth the laterna magica and the puppet theatre resurfaced in Fanny and Alexander (1982) Bergman’s last major film. ![]() What Erik Bergman did to his other children may be a matter of conjecture but it is not hard to imagine the effect his personality might have had on them. Erik Bergman, an important member of the Church of Sweden was said to be a martinet, and if his son is to be believed, a sadist.Īs a boy, Ingmar was the principal recipient of his wrath which ranged from hard to severe corporal punishment. Himself a sceptic and a non-believer, Bergman shared the anguish of the characters in his films with a stern compassion.īorn Ernst Ingmar Bergman to Karin and Erik Bergman on Jin Uppsala, Bergman could never shake off the after-effects of a contentious, and in retrospect, a malefic relationship with his father who was a minister of the Lutheran Church and later Chaplain to the King of Sweden. INGMAR BERGMAN was arguably the most famous Swede of the 20th century and his severe, dark films, which embraced many aspects of human suffering, had originated from Christianity, its religious and philosophical aspects. ![]()
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