![]() ![]() You could even say the two were inextricable. ![]() I have never understood the kind of happiness I was longing for.” So wrote Bergman in a letter and that restlessness was integral to the charm that streamed from her and to the damage she caused. “I have seen so much, yet it is never enough. . . ![]() It also meant she had a tendency to fall in love with men on the other side of the camera: war photographer Robert Capa, directors Victor Fleming and Roberto Rossellini. Daughter Pia Lindstrom argues in one heady interview segment that Bergman’s intense relationship with her own father - he was a widower, Ingrid his only surviving child - was defined and strengthened by the 16mm home movies he took of their life together. Last year we had “Amy,” an Oscar-nominated film that derived its strength from a friend’s home videos of Amy Winehouse in her youth, and “Listen to Me Marlon,” an eerie resurrection of Marlon Brando using the audio diaries he kept for decades.īergman, too, appears to have documented her life from one end to the other - is that why she became a movie star? Because in a sense she already was one? Directed by Stig Björkman and with major input from the actress’s grown children, “Ingrid Bergman: In Her Own Words” makes the case that Bergman saw herself and her loved ones through the lens of a camera and the frame of a screen, and she treated life as her very own adventure film. “Ingrid Bergman: In Her Own Words” is the latest example of what we’ll have to start calling primary-source documentaries: nonfiction films that avail themselves of their subjects’ personal home movies, video, audio, scrapbooks, diaries, grocery receipts, to-do lists, and so forth. ![]()
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