With the 100th anniversary of the birth of screen legend Ingrid Bergman coming up next month, the Museum of Modern Art in New York has announced a special film festival in honor of the late Swedish actress and three-time Oscar winner. MoMA will be screening 14 of Ingrid’s movies, selected and introduced by her four children, including actress Isabella Rossellini. Several of Ingrid’s most famous movies will be shown, such as “Casablanca” (1942), “The Bells of St. Mary’s” (1945), and “Notorious” (1948) – my favorite Hitchcock film, as it happens – among others. In addition several of her European films, less well-known to American audiences, will be screened. These include four of the Italian films she made with her second husband, director Roberto Rossellini, which are considered some of the most important works of European Neorealist cinema in the Post-War era.
While it is great that so many of Ingrid’s performances will be shown to audiences who have never had the chance to see her on the big screen, there are a few notable absences. I find it somewhat odd, for example, that MoMA of all places would not include “Spellbound” (1945) with Gregory Peck, since certain elements of the production were designed by Salvador Dali. Neither will be attendees be seeing “Anastasia” (1956) with Yul Brynner, for which Ingrid won her second Oscar, nor the now-legendary Sidney Lumet ensemble film, “Murder on the Orient Express” (1974), for which she won her third. It would also have been nice to see the sophisticated romantic comedy “Indiscreet” (1958) with Cary Grant which, while admittedly more of a specialist taste, has always been one of my favorite films of hers because of its very grown-up, cosmopolitan script, and whose Technicolor positively glows on screen.
That being said, I’m pleased to see that MoMA will be screening “Autumn Sonata” (1978) with Liv Ullman, Bergman’s final film and the only one she made with another towering Bergman of the cinema, Swedish director Ingmar Bergman. The two Bergmans had always wanted to work together, but as so often happens, sometimes these collaborations only happen in the autumn of one’s years – appropriately enough for the title and subject matter of this work. For those whose image of Ingrid is of the compassionate but resolute, strong yet tender beauty, this performance is quite a departure. It shows not only that she could act – John Gielgud’s catty comments notwithstanding – but that she could confound your expectations.
At first the role of the famous performer, all warm smiles and graciousness, seems to be Ingrid the actress playing a musical version of herself. Yet as the film develops, she plays against type in such a way that at first you don’t realize that her character is actually quite monstruous. The viewer is both drawn to and, upon reflection, repulsed by her character at the same time. It is not surprising that Ingrid received her 7th and final Best Actress nomination for the role, and that it won the Golden Globe for Best Foreign Film. Even if you can’t get to New York to see it, if you enjoy good acting you should definitely add this one to your screening queue.
Ingrid Bergman: A Centennial Celebration runs at the Museum of Modern Art in New York from August 29th to September 10th.