Marie Nyrerd - Bergman Island (2004)

Bergman Island / Ingmar Bergman - 3 Documentaries On film, Theatre, Faro Island

Directed By : Marie Nyreröd

Language : Swedish

Subtitles : English







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Filmjournal Review :

In the years following the release of Fanny and Alexander in 1982, news of Ingmar Bergman's imminent retirement often proved premature. Although Bergman continued to direct acclaimed television films and plays up until the early years of the current century, it seems fairly certain that Saraband, the 2003 quasi-sequel to Scenes from a Marriage, will become known as his cinematic swansong. Now that Bergman has permanently retired to his beloved Fårö Island in rural Sweden, Bergman Island, Marie Nyreröd's affectionate and revealing portrait of the legendary director, functions as something of a last will and testament.



While Bergman Island might be dismissed as little more than an 85-minute interview peppered with archival footage, Nyreröd's documentary is essential viewing for anyone with even the slightest interest in one of film history's indisputably seminal figures. Of course, the autobiographical roots of Bergman's art are familiar to film buffs who have perused the master's memoir, The Magic Lantern, and the relevant critical literature. Bergman Island is nevertheless valuable for Nyreröd's success in eliciting heartfelt ruminations from her subject; the director's unvarnished reflections on his work and personal life reveal a man who is perhaps his own harshest critic. In fact, given Bergman's often merciless self-laceration, his assertion that Persona " is a great film and I'm glad that I made it" comes across more as a casual statement of fact than an arrogant boast.



For Nyreröd, Bergman's residency on Fårö can be viewed as a key that unlocks the famously prickly cineaste's artistic and personal agenda. The starkly beautiful island is much more than a mere pastoral refuge from Stockholm's urban ambience: Its distinctive topography clearly stirred Bergman's imagination and inspired many of his most famous films-Through a Glass Darkly, Persona, Shame, Hour of the Wolf and The Passion of Anna, among others, were at least partially filmed there. After viewing Nyreröd's film, it is even possible to wonder if masterpieces such as Through a Glass Darkly and Persona would even have been conceivable without the creative ferment engendered by life on this island retreat.



The 88-year-old Bergman appears unusually relaxed in Nyreröd's presence and her gently prodding questions let loose a flood of rueful, and occasionally humorous, memories. When queried about his marriages and numerous love affairs, he remarks, with sly self-deprecation, that he "didn't leave puberty until the age of 58." Known for his unsparing cinematic explorations of sexual anxiety, there is little doubt that Bergman speaks from vast experience when he observes that both film and theatre are "erotically charged" realms. He is particularly candid in discussing the convergence of personal and creative energies during the filming of Persona on Fårö. Under other circumstances, a film starring a director's former mistress (Bibi Andersson) and his newfound paramour (Liv Ullmann) might well have led to disastrous on-set confrontations. But, while acknowledging that he was a bit of a scoundrel as well as a roué in those days, Bergman also implies that the palpable sexual tension only made these brilliant actresses' performances more convincing.



Given Bergman's age, it's of course unsurprising that a preoccupation with death (which was even conspicuous in films he made 50 years ago) looms large in Bergman Island. Even though Nyreröd includes pertinent, death-suffused excerpts from The Seventh Seal and Cries and Whispers, the interview material makes it clear that this famously melancholy artist has finally accepted the prospect of his eventual death. For a man who admits to possessing (or at least having possessed) such a voracious sexual appetite, there is something inescapably poignant about Nyreröd's depiction of a solitary retiree who spends most of his time listening to classical music on a desolate island paradise. Yet, conversely, we are also well aware that Bergman's exile is self-imposed--and that his rich memories of past cinematic and amorous triumphs provide him with more than adequate solace in his glorious dotage.







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