Ingmar Bergman 100 år /4
Jane Magnussons Bergman – Et år, et liv skildrer hele mennesket Bergman – alle hans sider…
PRIVATLIV
Det drejer sig om hele mennesket Bergman forstår jeg på pressemeddelelsen, jeg håber det også drejer sig om hans film, teateropsætninger, tv-produktioner og forfattervirksomhed, altså Bergmans hele værk og dets indhold. Jeg har ikke set filmen, så jeg ved det ikke, men jeg glæder mig meget, rigtig meget. Og jeg forbereder mig lidt ved at læse, hvad jeg sådan lige her og nu kan finde om Magnusson og hendes film. Først altså fra biograf.blog pressemeddelelsens synopsis:
”Jane Magnusson har med filmen forsøgt at portrættere HELE mennesket Bergman – alle hans sider. Både de fantastiske og de mindre flatterende for at forstå denne store kunstner endnu bedre. Filmen tager sit udgangspunkt i 1957, hvor Ingmar Bergman fik sit store gennembrud. 1957 var året, hvor Bergman var allermest produktiv – han lavede to spillefilm, havde premiere på ”Det syvende sejl” og ”Ved vejs ende”, stod bag fire teateropsætninger, en TV film, havde seks børn med tre forskellige kvinder, og der skete samtidig en masse andre vigtige ting i hans liv. Ingmar Bergman betragtes af mange som en af verdens absolut største kunstnere i moderne tid, først og fremmest indenfor film og ikke mindst ved Cannes Film Festival efter gentagne triumfer. Bergman – Et år, et liv havde sin verdenspremiere på ”Bergman – Et år, et liv” havde sin verdenspremiere på Cannes Film Festival i år.”
Dernæst læser jeg altså så anmeldelser fra Cannes deltagelsen. I The Hollywood Reporter ser jeg dette indholdsreferat, en synopsis sådan lidt mere lovende:
”Bergman: A Year in a Life is nominally structured as a look at what Magnusson argues might be Bergman’s most “productive year of his career,” from the premiere of The Seventh Seal, in February 1957, through the premiere of Wild Strawberries, on Boxing Day. But the focus on those specific months, during which Bergman turned 39, is for the most part a structural device that’s kept in the background, while Magnusson free-associates and roams throughout Bergman’s entire life to illuminate and explore his character. The work’s Swedish title, which literally translates as A Year, A Life, is a more accurate description of what to expect. “ Boyd van Hoeij fra The Hollywood Reporter konkluderer sin anmeldelse sådan:
“… Magnusson is a TV journalist and director who has previously explored Bergman’s legacy in the Trespassing Bergman/Bergman’s Video project, which looked at his influence on filmmakers ranging from Woody Allen to Ang Lee and Martin Scorsese, who all visited Bergman’s iconic Faro Island location. She here makes a more clearly biographical work that delves into the life and work of the writer-director and only occasionally gets carried away by the impression he left on other famous people, like when Barbra Streisand recounts her set visit to Bergman’s 1970 English-language debut, The Touch, which starred her then-husband, Elliott Gould. While what’s being said is fun to hear in a trivial kind of way, the film’s few snippets of celebrity talking heads — others include Holly Hunter, John Landis and Lars von Trier — are unnecessary distractions that don’t add all that much (a few at the end especially feel like an unnecessary retread of Trespassing Bergman territory). “
The Variety’s Owen Gleiberman skriver en langt mere accepterende, lang, grundig og detaljeret anmeldelse, som han begynder således:
“We tend to think of film directors as generals, a cliché that’s useful, and accurate, as far as it goes. Yet compared to almost any other vocation, the essence of what it means to be a film director — especially if you’re a serious and powerful artist — is that you occupy a dozen roles at once. You’re a politician, an acting coach, a therapist, a budget manager, an image technician, a literary dramatist, a back-room manipulator, a dictator, and (when you need to be) everyone’s best friend. Not to mention the things that often go with the job: a media star, a sexual hound dog, and a workaholic.
When you see a typical documentary about a filmmaker, much of this stuff often ends up on the cutting-room floor. But Jane Magnusson’s “Bergman — A Year in a Life,” a portrait of Ingmar Bergman in the pivotal year of 1957 (though it covers his entire life and career), is one of the most honest and overflowing portraits of a film artist that I can remember seeing. It’s one of two Ingmar Bergman documentaries at Cannes this year (the other, which has yet to screen, is Margarethe von Trotta’s “Searching for Ingmar Bergman”), and it captures Bergman as the tender and prickly, effusive and demon-driven, tyrannical and half-crazy celebrity-genius he was: a man so consumed by work, and by his obsessive relationships with women, that he seemed to be carrying on three lives at once…”
Jane Magnusson: Bergman – Et år, et liv, Sverige 2018, 117 min. Medvirkende: Ingmar Bergman, Lena Endre, Thorsten Flinck, Elliott Gould, Barbra Streisand, Lars Von Trier. Biografpremiere torsdag den 12. juli i Grand Teatret og Dagmar NFB, København, i Bibliografen, Bagsværd, i Reprise Teatret, Holte, i Humle Bio, Humlebæk, Nicolai Biograf & Cafe, Kolding, i Biffen, Aalborg, i Øst For Paradis, Aarhus og i Cafebiografen, Odense.
https://biograf.blog/2018/06/01/bergman-et-aar-et-liv/ (Synopsis and NB trailer. Dansk og svensk)
https://variety.com/2018/film/reviews/bergman-a-year-in-a-life-review-ingmar-bergman-1202808268/ (Review, English)
https://www.hollywoodreporter.com/review/bergman-a-year-a-life-bergman-ett-ar-ett-liv-1111535 (Review, English)
