Ingrid Bergman

At 67 years old, Ingrid Bergman has this physical status:

Career

Bergman's first film role was as an extra in the 1932 film Landskamp, which she described as "walking on holy ground." She appeared in Munkbrogreven (1934), her first speaking role. Born in a seedy hotel, Bergman pursued leader Edvin Adolphson, pursuing Elsa, a maid. Critics called her "strong and confident of herself" and "somewhat obese," with an unusual way of speaking her lines. The unflatteringly striped costume she wore may have contributed to her unfavorable remarks about her appearance. Munkbrogreven, Bergman, was given a theater deal and was placed under the supervision of director Gustaf Molander shortly after.

Bergman appeared in Ocean Breakers, in which she played a fisherman's daughter, and then in Swedenhielms, where she had the opportunity to work alongside her idol Gösta Ekman. She appeared in Walpurgis Night (1935). Lena, a secretary in love with her boss, Johan, who is unintentionally married, was unhappily married. Lena and the wife vie for Johan's love throughout her marriage, with the wife losing her husband to Lena at the end.

Bergman was portrayed as an orphanage from a wealthy older man in 1936 on the Sunny Side of On the Sunny Side. She appeared in Intermezzo, her first lead role, where she was reunited with Gösta Ekman in 1936. This was a pivotal film for the young actress, allowing her to showcase her talent. "I created Intermezzo for her," director Molander later said, but I was not responsible for its success. "Ingrid herself made it a hit" She appeared in Only One Night in 1938 as an upper-class woman living on a country estate. She didn't like the role, calling it "a piece of garbage" instead. She only agreed to appear in En kvinnas ansikte's next film project if she could star. She appeared in Dollar (1938), a Scandinavian screwball parody. Bergman was just named Sweden's Most Admired Film Star in the previous year and received top billing. "Ingrid Bergman's appearance as an industrial tycoon's wife overshadows them all," Svenska Dagbladet wrote in its review.

En kvinnas ansikte (A Woman's Face), her next film, she played against her usual role as a cympathetic character whose face had been brutally burned. Anna Holm is the head of a blackmail group that threatens Stockholm's wealthy people for their money and jewellery. To recreate a burnt face, Bergman had to wear heavy make-up as well as glue. To distort one's cheek's appearance, a brace was used. "My own picture, not mine," she said in her diary. "I have fought for it." The critics adored her performance, citing her as an actor of exceptional ability and confidence. At the 1938 Venice Film Festival, the film received a Special Recommendation for its "overall artistic contribution." It was remade in 1941 by Metro-Goldwyn-Mayer, starring Joan Crawford, and was remade in 1941 by Metro-Goldwyn-Mayer with the same name.

Bergman completed a three-picture film at UFA, Germany's biggest film company, but she only took one picture. She was pregnant at the time, but she arrived in Berlin to begin filming The Four Companions (Die vier Gesellen) (1938), directed by Carl Froelich. The film was supposed to be a theatrical vehicle to begin Bergman's career in Germany. 157 She played one of the four most vivacious young women in the film, attempting to open a graphic design company. The film was a light-hearted mix of comedy and romance. She had no idea of Germany's political and social situation at first. "I noticed very quickly that if you were any at all in films, you had to be a member of the Nazi party," she said later. By September, she was back in Sweden and gave birth to her daughter, Pia. She was never to return to Germany.

Before the age of twenty-five, Bergman appeared in eleven films in her native Sweden. Her stories were always plagued with uncertainty, anxiety, and fear. The early Swedish films were not masterpieces, but she worked with some of Sweden's best actors, including Gösta Ekman, Karin Swanström, Victor Sjöström, and Lars Hanson. It showcased her considerable acting ability as a young woman with a promising future ahead of her.

Intermezzo: A Love Story by Gregory Ratoff, which premiered on September 22, 1939, was Bergman's first acting appearance in the United States. She accepted the invitation of Hollywood producer David O. Selznick, who wanted her to appear in the English-language version of her older Swedish film Intermezzo (1936). With her inability to speak English and uncertain about her acceptance by the American audience, she is set to finish this one film and return home to Sweden. Dr. Petter Aron Lindström, her husband's uncle, and their daughter Pia (born 1938), were stranded in Sweden. 63 In Intermezzo, she played the role of a young piano accompanist, opposite Leslie Howard, who appeared in a popular violin virtuoso. Bergman arrived in Los Angeles on May 6th and stayed at the Selznick home until she could find a new home.

"She didn't speak English, she was too tall, her name was too German, and her eyebrows were too thick," Selznick's son, Danny, who was a child at the time. Despite some early Selznick's remarks, Bergman was soon accepted without having to change her appearance or name. 6 "He let her have her way," a Life magazine article says. Selznick expressed her apprehension with Hollywood make-up artists, fearing that it would make her disappear if she didn't recognize her, and "instructed them to lay off." She was also aware that her natural good looks would compete well with Hollywood's "synthetic razzle-dazzle."

Selznick was also filming Gone with the Wind in the ensuing weeks as Intermezzo was being shot. Selznick wrote a letter to William Hebert, his publicity manager, describing a few of his early impressions of Bergman:

Intermezzo was a huge success, and Bergman became a celebrity as a result. "She is sensational," Ratoff said. "This was the complete set," a retrospective said, adding that workmen went out of their way to do things for her and that the cast and crew "admired the fast, alert concentration she gave to direction and to her lines." David Thomson, a film historian, says this was "the beginning of an incredible effect on Hollywood and America" where her make-up contributed to a "air of nobility." According to Life, the impression that she left Hollywood after she returned to Sweden was of a tall girl with light brown hair and blue eyes who was painfully shy but smiling, with a warm, straight smile."

Selznick praised her uniqueness. 76 Bergman was praised as a top new talent and has received a number of glowing reviews. "newness and simplicity, natural beauty," and her acting experience, which was nevertheless, free of "stylistic characteristics, postures, and precise inflections, which made the mature actress' stock in trade." Variety said she was warm and convincing, gave a "arresting appearance" and that her "charm, sincerity" and "infectious vivaciousness" would "serve her well in both comedy and drama." In comparison to other film actresses, there was also acknowledgement of her natural appearance. "She produces the character so vividly and convincing that it becomes the center of [the] story," a New York Tribune critic wrote. "Berne, 73, made her stage debut in 1940, opposite Burgess Meredith, at a time when she was still learning English." Selznick was worried that his new starlet's worth would decrease if she got poor reviews. Bergman seemed at ease and directed the stage that evening, according to Brooks Atkinson of The New York Times. That year, she appeared in June Night (Juninatten), a Swedish language drama film directed by Per Lindberg. Kerstin is a woman who has been assaulted by her lover. The national newspapers are getting the news. Kerstin is heading to Stockholm under the new name Sara, but she lives under the scrutiny and watchful eye of her new neighborhood. "Bergman establishes herself as an actress of the world elite," Resunds-Posten wrote.

Bergman was loaned out of David O. Selznick's company to appear in three films that were first released in 1941. Robert Sherwood Productions' second collaboration with Gregory Ratoff, Adam Had Four Sons, was released on February 18th. W. S. Van Dyke's Rage in Heaven was released on March 7th by Metro-Goldwyn-Mayer. Dr. Jekyll and Mr. Hyde, another Metro-Goldwyn-Mayer venture, opened in New York on August 12th. Bergman had intended to portray Dr Jekyll's fiancée as a "good girl," but she pleaded with the studio that she should play Ivy, the saucy barmaid. "She gave a finely-shaded appearance," reviewers noted. "The young Swedish actress demonstrates once more that a shining role can often lift itself above an impossible to write role," a New York Times study found. 84 "She has a canny combination of charm, knowledge, patience, and sheer acting ability."

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Bergman made her second stage appearance in Anna Christie on July 30th, 1941 at the Lobero Theatre in Santa Barbara. She was praised for her role as a whore in the play based on Eugene O'Neill's work. According to a San Francisco newspaper, she was as unspoiled as a new Swedish snowball. Selznick referred to a well-known Swedish actress of the time, and a reference to a common soap. "Lunching with Ingrid is like sitting down to an hour or so of chat with an intelligent orchid," Thornton Delaharty said.

Casablanca, by Michael Curtiz, opened on November 26, 1942. Bergman appeared in the film with Humphrey Bogart; it is her best-known role to date. She travelled with Laszlo to the United States as Ilsa, Rick Blaine's ex-girlfriend and wife of Victor Laszlo. On September 26, 1942 at the Hollywood Theater in New York, the film premiered. "The performances are shot with sharp humor and delective touches of political satire," the Hollywood Reporter wrote. In January 1943, it became a more general release. 86 Casablanca was not one of Bergman's favorite performances. "I made so many films that were more relevant, but Bogart's is the only one we'll ever worry about." "I feel about Casablanca that it has a life of its own" in later years. It has something magical about it. It seems that it fulfilled a desire, a desire that existed before the film was shot, as well as a desire that was unsatisfied by the film's. 88 "Bernman was remarkably delicate, crisp, and natural," Bosley Crowther of The New York Times wrote about her appearance, "and she illuminated the romantic passages with a warm and genuine glow." Other reviewers noted that she "plays" the heroine with "appealing power and beauty" and "illuminates every scene in which she appears" and compares her to "a young Garbo."

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Whom the Bell Tolls premiered in New York on July 14th, 1943. "Selznick's steady rise" was part of Maria, but it was also her first color film. She received her first Academy Award nomination for her role as Best Actress for the role. Ernest Hemingway's book of the same name was used in the film, as well as co-starring Gary Cooper. Hemingway said that "Miss Bergman, and no one else, should appear" when the book was published on Paraphrasedoutput. His opinion came from seeing her in Intermezzo, her first American role. They met a few weeks later, and after discussing her, he said, "You are Maria!" Bergman was described as "ethical likeness to an imagined human being" by James Agee, a newspaper published in the United States; she really knows how to act, combining poetic grace with quiet realism in American photographs." "She explains in detail how she's confided in her rape and her performance of farewell, which is sad to watch." Bergman had actually investigated what Maria would look and look like in real life, not in a Hollywood film, according to Agee. "Deasting and magnificent to see" her appearance at 94.

On May 4, 1944, the gaslight was first introduced in the United States. Bergman received her first Academy Award for her role. She portrayed a "wife driven close to madness" by her husband, played by Charles Boyer under George Cukor's direction. According to Thomson, "the film was at the height of her Hollywood fame." "77 reviewers expressed sympathy and admiration, as well as that she exercised patience by refusing to allow emotion to "slip off into hysteria." "She lights in passion and flickers in sadness until the audience - becomes rigid in its seats," the New York Journal-American said.

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On December 6, 1945, the Bells of St. Mary's premiere appeared. Bergman was named Best Actress twice in a row, but she was not named for her third straight nomination. Crosby plays a priest who has been sent to a Roman Catholic school where he wrestles with its headmistress, played by Bergman. 'Crosby's laconic ease brings out Bergman's fine-china delicacy,', according to reviewer Nathan Robin, and Bergman's brilliant and spirited comedic foil for Crosby'. The film was the first box office hit of 1945.

Spellbound by Alfred Hitchcock premiered on December 28, 1945. Dr. Constance Petersen, a psychiatrist whose report might reveal whether or not Dr. Anthony Edwardes, played by Gregory Peck, is guilty of murder. Salvador Dal was hired to produce dream sequences, but Selznick had to remove a significant portion of what had been shot. She had the opportunity to work with Michael Chekhov, who was her acting coach during the 1940s, on the film. This would be the first of three collaborations she had with Hitchcock.

Bergman appeared in Saratoga Trunk, a film that was originally shot in 1943 but released on March 30, 1946. It was the first time that it was sent to the armed forces in the world. Warner Bros postponed the theatrical premiere in the United States in favor of more recent war-themed and patriotic films. Notorious, Hitchcock's debut on September 6, is the first film to be published in the United States. Bergman portrayed Alicia Huberman, a US spy who had been given an opportunity to infiltrate the Nazi sympathizers in South America, in it. Along the way, she fell in love with her fellow spy, Cary Grant. Claude Rains appeared in an Oscar-nominated role as a supporting actor in the film. Notorious is the most elegant expression of Hitchcock's visual style, according to Roger Ebert. "Notorious is my favorite Hitchcock," he said. Samuel Wigley, a writer for the British Film Institute, called it a "perfect" film. Notorious was chosen by the National Film Registry in 2006 as culturally and economically significant.

Bergman appeared in Joan of Lorraine at the Alvin Theatre in New York on October 5th, 1946. The entire run was sold out of tickets for a twelve-week run. It was the most popular in New York ever. Following each performance, audiences gathered to see Bergman live. 'Queen of the Broadway Season,' Newsweek called her the 'Queen of the Broadway Season.' According to reports, she earned more than half of the money. She was named 'Woman of the Year' by the Associated Press.' Gallup named her as America's most popular actress.

Arch of Triumph by Lewis Milestone was released in 1948 with Bergman and Boyer as the leading roles. It's based on Erich Maria Remarque's book Joan Madou, an Italian-Romanian immigrant who works as a cabaret singer in a Paris nightclub. Befuddled by her lover's sudden death, she attempts suicide by plunging into the Seine but is rescued by Dr. Ravic, a German surgeon (Charles Boyer). Joan of Arc had its world premiere on November 11, 1948. Bergman received her second Best Actress award for her role. Joan of Lorraine, Maxwell Anderson's play, was based on the Maxwell Anderson film, which had won her a Tony Award earlier this year. Walter Wanger was born in England and first appeared on RKO. Bergman had fought for the role since her debut in Hollywood and then decided to appear on the Broadway stage in Anderson's play. The film was not a big success with the public, partially due to the Rossellini fiasco, which broke while the film was still in theaters. And, worse, it received poor reviews, and although it was nominated for multiple Academy Awards, it did not receive a Best Picture Award. It was later cut by 45 minutes, but it was restored to full length in 1998 and then released on DVD in 2004.

Capricorn's second Bergman and Hitchcock collaboration launched on September 9, 1949, as another Bergman and Hitchcock joint venture. The film was shot in 1831 Australia. Charles Adare, played by Michael Wilding, arrives in New South Wales with his uncle. Adare meets Sam Flusky (Joseph Cotten), who is married to Charles' childhood friend Lady Henrietta (Bergman), an alcoholic kept captive in their mansion. Flusky is jealous of Adare's love for his wife early in life. Critics generally dismissed the film. Some of the negativity may have been based on Bergman's disapproving of his relationship with Italian director Roberto Rossellini. They became engaged shortly after the film's release.

Stromboli was released by Italian director Roberto Rossellini on February 18, 1950. Bergman was raving over Rossellini's two films. In 1949, she wrote to him, expressing her admiration and recommending that she film with him. She was cast in Stromboli as a result. They began an affair during the production, and Bergman's first child became pregnant.

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This affair sparked a big controversy in the United States, where it culminated in Bergman's deposition on the Senate floor. Senator Edwin C. Johnson argued that his once-favorite actress "had perpetrated an assault on the institution of marriage" on Thursday, going so far as to say she had "a great deal of shame." "The fidelity that made people laugh at Saint Bergman's appearance as she played Joan of Arc," one writer wrote, "made both audiences and US senators feel betrayed when they learned of her affair with Roberto Rossellini." In an interview, Art Buchwald, who was allowed to read her mail during the scandal, reflected, "Oh, that mail was bad, ten, twelve, fourteen huge mail bags." 'Dirty whore' says the author.' 'Bitch.' 'Son of a bitch,' says the narrator.' "They were all Christians who wrote it."

Despite a poll showing that the public wanted her to appear, Ed Sullivan decided not to have her on his show. Nevertheless, Steve Allen, whose show was equally popular, did have her as a visitor, describing "the difficulty of trying to measure artistic performance through the prism of one's personal life." Bergman had, according to Spot's review, "above all else." She had appeared as a nun in The Bells of St. Mary's (1945) and as a virgin saint in Joan of Arc (1948). "People saw me in Joan of Arc and declared me a saint," Bergman later said. I'm not sure. I'm just a woman, another human being."

As a result of the scandal, Bergman returned to Italy, leaving her first husband and going through a publicized divorce and custody battle for their daughter. On May 24, 1950, Bergman and Rossellini were married.

The film in the United States was a box office bomb, but it did better overseas, where Bergman and Rossellini's affair was considered less controversial. RKO also lost $200,000 on the film, all in all. It was named as the year's best film in Italy by the Rome Prize for Cinema.

However, the first reception in America was skeptic. "After all the ecstatic fascination that 'Stromboli' has sparked, and perhaps the culmination of Ingrid Bergman and Roberto Rossellini's film's ostensible cinema is painfully banal," Bosley Crowther of The New York Times began writing: "I'm sure that this brisking anticlimax has come as a startling anticlimax." Bergman's character "is never drawn with definite and revealing description," Crowther said, partly due to the script's vagueness and partially to Rossellini's dullness and monotony."

"Director Roberto Rossellini purportedly denied responsibility for the film, according to Variety's staff, who said that the American version was reduced by RKO beyond recognition." The film, whether or not it was cut, shows no respect for him. Ingrid Bergman's never really able to make the lines authentic nor energized enough to act given the elementary-school dialogue. The only apparent sign of the renowned Italian filmmaker is in the hard photography, which contributes to the life on the rocky, lava-blanketed island's realistic, documentary look. Rossellini's penchant for realism, on the other hand, does not extend to Bergman. She's always fresh, clean, and well-groomed." "As entertainment, it does have a few moments of distinction," Harrison's Reports wrote: "On the whole, it is a dull, dated piece, poorly edited, and mediocre in terms of writing, direction, and acting." In the video that rises above the humdrum, John McCarten discovers that there is "nothing whatsoever" in it, and that Bergman "doesn't appear to have her heart in any of the scenes." "It's pity that so many people who never go to foreign-made pictures will be drawn into this by the Rossellini-Bergman names" and will believe that this flat, drab, inept picture is what they've been missing," Richard L. Coe of The Washington Post penned.

The most recent reports have been more encouraging. Dave Kehr, who praised the film in 2013 as part of its DVD launch as part of The Criterion Collection's, called the film "one of the pioneering works of modern European filmmaking." "Like many of cinema's masterpieces, Stromboli is fully explained only in a final scene that brings into balance the protagonist's state of mind and the imagery," critic Fred Camper wrote of the film. This structure leads to a belief in the transcendent power of revelation. When she scales the volcano, she is forced to abandon her suitcase (itself more modest than the trunks she arrived with) and reveal her fear and fear as she scales the mountain. Karin is the first human being to be able to see and talk again from a personal "year zero" (to borrow from another Rossellini film title).

Stromboli was rated as one of the 100 most important Italian films ("100 film italiani da salvare") from 1942 to 1978 at the Venice Film Festival. The British Film Institute's Sight & Sound critics' survey in 2012 ranked it as one of the top films of all time.

In 1952, Rossellini directed Bergman in Europa '51, where she plays Irene Girard, who is distraught by her son's sudden death. Irene's husband, played by Alexander Knox, is soon to recover, but she does need a purpose in life to prevent her from neglecting her son.

In a short segment of Rossellini's 1953 documentary film Siamo donne (We, the Women), which was devoted to film actresses, she was directed by Rossellini. Peter Bondanella, his biographer, claims that difficulties with communication during their marriage may have inspired his films' central themes of "solitude, grace, and spirituality in a world without moral values." 19 In December 1953, Rossellini directed Joan of Arc at the Stake in Naples, Italy. They travelled to Barcelona, London, Paris, and Stockholm. Her work has received largely favorable feedback.

Viaggio in Italia (Journey to Italy) was their first attempt. It came from a couple's trip to Naples, Italy, to auction an ancestral home. They are also concerned by the locals' way of life, who are trapped in a lifeless marriage. According to John Patterson of The Guardian, the film got off The French New Wave. In his documentary short film in 2001, Martin Scorsese selected this film to be one of his favorites. Joan at the Stake opened at the Stockholm Opera House on February 17, 1955. The prime minister and other artistic figures in Sweden attended the performance. Bergman seems to be a tumultuous, dull, and lack of charisma, according to the Swedish Daily. Bergman was mostly hurt by poor media coverage of her native land. When Stig Ahlgren called her a smart businesswoman, not an actress, he was the most harsh. Ingrid is a product, a hot product that is available in the free market." Giovanna d'Arco al rogo, their second attempt of the year, was another attempt.

La Paura (Fear), their last attempt in 1955, was based on a play by Austro-Jewish writer Stefan Zweig's 1980 novella Angst about adultery and blackmail. Bergman plays a businesswoman, who owns a pharmaceutical company established by her husband (Mathias Wieman). She's having an affair with a man whose ex-lover appears to be back and blackmails her. The woman requests money and threatens her husband if Bergman does not pay her off. Bergman is being threatened on a regular basis to commit suicide.

In some circles, Rossellini's use of a Hollywood celebrity in his traditionally "neorealist" films, in which he often used non-professional actors, triggered some critical reactions. "defying audience needs [desumed] Rossellini, "defying audience expectations [etc.] employing Bergman as if she were a professional" and requiring her to act "inspired by reality while working" in one critic's description of "a new cinema of psychological introspection." "98 Bergman was aware of Rossellini's directing style before filming, as the producer had earlier written to her that he started from "very basic plans and then developing them little by little" as the film progressed. 19 Rossellini was accused of jeopardizing her career by moving her away from Hollywood, while Bergman was seen as the impetus for Rossellini's abandonment of Neo-Realism's aesthetic style and sociopolitical worries.

Although Bergman's movies with Rossellini were commercial failures, the films have received a lot of praise and attention in recent times. Their work has inspired a modern cinematic age, according to Jordan Cronk in his article analyzing the movies. In films like Stromboli, Europa '51, and Journey to Italy, Rossellini's films during the Bergman period explored issues of complex psychology as represented by Bergman. Bergman and Rossellini's relationship can be felt in Godard, Fellini, and Antonioni's films, as well as Abbas Kiarostami and Nuri Bilge Ceylan. The New York Times' David Kehr said that their works now stand out as one of the pioneering films whose presence can be felt in European modern filmmaking.

After separating from Rossellini, Bergman appeared in Elena and Her Men, a romantic drama in which she played a Polish princess in which political intrigue surrounded her. Bergman and Renoir had been hoping to work together for years. Elena Sorokowska, Renoir's first book, portrays a down-on-her-luck Polish princess who is on her own in Elena and Her Men. When it premiered in September 1956, the film was a hit in Paris. Bergman is the best thing in the movie, according to Candice Russell. "The film is about something else - about Bergman's rare eroticism - and the way her face seems to have an inner light on film," Roger Ebert wrote. Is there ever a more sensuous actress in the film?

In 1956, Bergman appeared in a French version of Tea and Sympathy. It was presented at the Théâtre de Paris, Paris. It tells the tale of a "boarding school boy" who is believed to be homosexual. Bergman played the wife of the headmaster. She is supportive of the young man, grows closer to him, and eventually has sex with him, as a way to "prove" and sustain his masculinity. It was a smash hit.

Anatole Litvak was expected to direct, with Twentieth Century Fox acquiring the rights to Anastasia. After a seven-year absence, Buddy Adler, the executive producer, wanted Bergman, then a notorious figure in the United States, to return to the American screen. Fox opted to take the chance, putting her in a box-office danger to play the leading role. In England, Paris, and Copenhagen, filming was supposed to be done.

Anastasia (1956) tells the tale of a woman who may be the sole living member of the Romanov family. Yul Brynner, the chemist, tries to pass her off as the sole surviving daughter of late Tsar Nicholas II. He wants to use her to amass a large inheritance. Anastasia was a huge hit on the first day. "It's a beautifully formed performance, deserving of an Academy Award, and especially gratifying in the light of Miss Bergman's long absence from commendable films," Bosley Crowther wrote in the New York Times.

Bergman made a triumphant return to Hollywood film (albeit in a film shot in Europe) and received the Academy Award for Best Actress for the second time in a second time. Cary Grant accepted the award on her behalf. Anatole Litvak, the company's director, described her as "one of the world's best actresses."

Bergman appeared in Indiscreet (1958), a Stanley Donen-directed romantic comedy directed by Anastasia. Anna Kalman, a successful London stage actress, falls in love with Philip Adams, a diplomat played by Cary Grant. The film is based on Norman Krasna's book 'Kind Sir.' Despite being single, he informs her that he is married but that he is unable to get a divorce. He does so in order to remain single. Cecil Parker and Phyllis Calvert co-starred in the film.

Bergman appeared in the 1958 film Inn of the Sixth Happiness, based on a true tale about Gladys Aylward, a Christian missionary in China who, despite numerous challenges, was able to win the natives' hearts by perseverance and sincerity. She leads a group of orphaned children to safety in the film's climactic scene to escape from the Japanese invasion. "The justification of her accomplishments is shown by no other appearances than those of Miss Bergman's mellow beauty, friendly demeanor, and melting charm," the New York Times said. Robert Donat and Curd Jurgens appeared in the film as co-starred.

In 1959, Bergman made her first post-scandal public appearance at the Golden Academy Awards as the host of the award for Best Picture, and she received a standing ovation when she was announced. In an episode of Startime, an anthology show that featured dramas, musical comedies, and variety shows, Bergman made her television debut in the form of The Turn of the Screw, an adaptation of Henry James' horror novella starring John Frankenheimer. She was a governess to two young children who are haunted by the ghost of their previous caretaker. She received the 1960 Emmy for her best dramatic appearance by an actress in this series. Bergman was also inducted into the Hollywood Walk of Fame in 1960 as a motion pictures star at 6759 Hollywood Boulevard.

Twenty-four Hours in a Woman's Life, Bergman's second American television series, was produced by her third husband, Lars Schmidt in 1961. Bergman played a widowed wife, in love with a younger man she hadn't seen for 24 hours. Paula Tessier, a middle-aged interior decorator who is fifteen years old, appeared in Goodbye Again as Paula Tessier, a middle-aged interior decorator who falls in love with Anthony Perkins' character. Paula is in love with Roger Demarest, a womanizer played by Yves Montand. Roger is adored by Paula, but he is reluctant to give up his womanizing ways. Paula is now compelled to choose between the two guys when Perkins begins pursuing her. Bergman's role as Perkins' lover was neither convincing nor interesting, according to Bosley Crowther in his review of the film.

Hedda Gabler, Schmidt's third attempt at American television, appeared on BBC and CBS in 1962. She portrayed the titular character alongside Michael Redgrave and Ralph Richardson. "Bergman and Sir Ralph Richardson on screen at the same time is like peanut butter and chocolate spread on warm toast," David Duprey wrote in his review. She played Hedda Gabler in Paris's Théâtre Montparnasse later this year.

The Visit premiere of The Visit on September 23, 1964. Der Besuch der alten Dame, Friedrich Dürrenmatt's 1956 film, is based on a film by Anthony Quinn starring Bergman and Anthony Quinn. Principal photography took place in Capranica, outside of Rome, for $1.5 million. Karla Zachanassian, the world's richest woman, returns to her birthplace in the hopes of revenge.

The Yellow Rolls-Royce of Anthony Asquith premiered on May 13, 1965. Gerda Millett, a wealthy American widow who meets Omar Sharif, a Yugoslavian partisan, is portrayed by Bergman. She was reportedly paid $250,000. Bergman appeared in London's West End in A Month in the Country in the same year, despite being best known as a film actor. Natalia Petrovna, a sweet headstrong woman who was dissatisfied with her marriage and her personal life, became her role. "Without Ingrid Bergman's presence, the production would hardly have evoked this special appeal," The Times says.

Bergman appeared in only one project, an hour-long television adaptation of Jean Cocteau's one-character play The Human Voice, in 1966. It tells the tale of a lonely woman in her apartment talking on the phone to her lover who is about to leave her for another woman. The New York Times praised her performance, calling it a tour de force. Through this harrowing monologue, the Times of London expressed the same sentiment, describing it as a fantastic spectacle.

Bergman appeared in a brief episode of Swedish anthology film Stimulantia in 1967. Her segment, which is based on the Guy de Maupassant's The Jewellery, reunited her with Gustaf Molander. Eugene O'Neill's More Stately Mansions, directed by José Quintero, opened on October 26, 1967. In the leading roles, Bergman, Colleen Dewhurst, and Arthur Hill appeared. After 142 performances, the show came to a close on March 2, 1968. Thousands of spectators bought tickets and travelled from around the country to see Bergman perform. During the 41st Annual Academy Awards in 1969, Bergman performed as both a host and a performer.

Following a long absence, Bergman wanted to return to American films. She appeared in Cactus Flower in 1969 with Walter Matthau and Goldie Hawn. She played a prim spinster, a dental nurse-receptionist who is unethically in love with her boss, the dentist, who was played by Matthau. Howard Thompson wrote in the New York Times: "In the New York Times, he wrote: 'In the New York Times: Howard Thompson wrote, "In the New York Times, he said, "Thomas" is a newspaper published in New York.

Guy Green's A Walk in the Spring Rain premiere held on April 9, 1970. Libby, the middle-aged wife of a New York professor, was played by Bergman. She accompanys him on his sabbatical in the Tennessee mountains, where he hopes to write a book. Will Cade (Anthony Quinn), a local handyman, and the two people form a mutual attraction. Rachel Maddux's romantic novel was based on the screenplay. "Miss Bergman seems to be just a tumultuous woman falling into Quinn's arms for fun, from boredom with her similarly bored husband, [Weaver] to pecking away on a book in their temporary mountain retreat," the New York Times wrote in its article.

Captain Brassbound's Conversion, a play based on George Bernard Shaw's writing, made its London debut on February 18th, 1971. She played the role of a woman whose husband has been caught up with a woman half her age. Though the production was a commercial success, critics were not sure of Bergman's British accent.

In 1972, she appeared in one episode of The Bob Hope Show. Also this year, the United States has been in the United States. Senator Charles H. Percy of Oregon filed an apology into the Senate Records for Edwin C. Johnson's verbal assault on Bergman on March 14, 1950. Percy said she had been "the perpetrator of a violent assault in this chamber 22 years ago." Bergman expressed regret for the persecution, which caused her to "leave this world at the time of her career." Bergman said the remarks had been impossible to remember, and had caused her to leave the United States for nine years. Despite paying a high price, Bergman made peace with America, according to her daughter, Isabella Rossellini.

Fielder Cook's Fielder Cook's Diary On the 27th of September 1972, Fielder Cook's The Fielder Cook's Mixed-Up Files of Mrs. Basil E. Frankweiler was the premiere. In the Metropolitan Museum of Art, she plays the titular character, a wealthy recluse who befriends two children who are looking for "treasure."

Bergman was the president of the jury at the 1973 Cannes Film Festival for the second year. In a 1978 interview with The Daytona Beach News, she recalled this occasion because she worked with Ingmar Bergman for the first time. This gave her the opportunity to tell him about the letter she had written ten years ago, requesting him to include her in one of his shots. Knowing Ingmar would be attending, she made a copy of his long-ago reply and put it in his pocket. For two years, he didn't reply again.

Bergman returned to London's West End and appeared with John Gield in The Constant Wife, which was a critical success. The theatre was always packed. The play was described as "unusually amusing," according to the Daily Telegraph, while Harold Hobson of The Sunday Times was still bemused at Bergman's for portraying yet another English woman with a "strange accent."

When Bergman won her third (and first) for her role in Murder on the Orient Express (1974), she became one of the few actresses to receive three Oscars. Sidney Lumet had offered Bergman the vital part of Princess Dragomiroff, in which he felt she might have won an Academy Award. Greta Ohlsson, the old Swedish missionary, was persistent in her refusal to appear in the much smaller role.

Lumet discussed Bergman's role:

Jean Renoir, a film producer, was to receive a Lifetime Achievement Award for his service to the motion picture industry at the 1975 Academy Awards. He was ill at the time and requested that Ingrid Bergman receive this award on his behalf. Bergman made a speech of acceptance that praised his films and the "compassion that characterized all his creations," as well as his teaching of both young filmmakers and viewers. 542–543 Although she had been nominated for the new Best Support Actress Award, she felt her contribution in Murder on the Orient Express to be minor and did not expect to win. Valentina Cortese should have received the award for her role in Day for Night by Truffaut when she was announced. Bergman and Cortese spent the remainder of the evening in each other's company and were the subject of numerous photographs. 542–543 Bergman attended the AFI's Orson Welles memorial in 1975. When she appeared on stage, the audience gave her a standing ovation. She joked that she barely knew Welles, and that they only invited her because she was walking across the street.

In 1976, Bergman became the first individual to receive France's newly introduced Honorary César, a national film award. She appeared in A Matter of Time, by Vincente Minnelli, which premiered on October 7, 1976. "A Matter of Time" is a major disappointment as a film, according to Roger Ebert's review, but it does a good job as a time for reflection. We're left with the opportunity to consider Ingrid Bergman at 60 as we've finally decided on the plot - a meandering and jumbled company. And considering Ingrid Bergman at any age is, I submit, a good way to spend one's time."

Bergman's West, with Wendy Hiller, from 1977 to 1978, is a film that resembles the London Underground. Helen Lancaster, a wealthy, self-centred woman whose car becomes trapped in a snowdrift, was a starring role. The play became the season's best new hit.

Bergman appeared in Autumn Sonata (Höstsonaten), by the Swedish filmmaker Ingmar Bergman (no relation), for whom she received her seventh — and final — Academy Award nomination. She was unable to attend the awards due to her illness. This was her last cinema appearance. Liv Ullmann, another well-known and respected Scandinavian artist, was given the opportunity to work with her in the film. Charlotte Bergman plays Charlotte, a celebrity pianist who flies to Norway to visit her neglected eldest daughter, Eva, played by Ullmann. Eva is married to a clergyman, and they care for her sister, Helena, who is severely injured and unable to speak properly. Charlotte hasn't been to either of her two children for seven years. Eva's mother is shocked and dismayed to learn that her younger daughter is in residence and not yet in the institution "home" upon his arrival. Eva and Charlotte have an enthralled and painful discussion about their recent friendship late at night. Charlotte will leave the following day. 558 The film was shot in Norway.

At the time of the filming, Bergman was fighting cancer. Since she needed additional surgery, the last two weeks of the shooting schedule needed to be rescheduled. 568–569 Despite the fact that her career was coming to an end, Bergman wanted her swan song to be worthy. Autumn Sonata's overwhelming critical acclaim had her ecstatic. "The astonishment is Bergman's appearance," Stanley Kaufmann of The New Republic wrote. We've all adored her for decades, but not many of us would have guessed her to be a natural actress. She was praised in the care of a master here." "An emotive power we can't even remember seeing since Hollywood grabbed her," Newsweek said. The Times (London) reported that it was "a tour-de-force" as opposed to the cinema rarely sees. Both Bergman and Ullmann received the New York Film Critics Award and Donatello Award in Italy for their respective roles. Ingmar had perhaps given her the best role of her career, but she would never be back in the theater again, according to Bergman. "I don't want to go down and play little parts." "This should be the end," says the author.

Alfred Hitchcock's Life Achievement Award Ceremony was hosted by Bergman in 1979. She presented him with the wine cellar key, which was pivotal to Notorious's plot. "Cary Grant kept this for ten years, then he gave it to me, and now I give it to you in your prayers." In December 1979, Bergman was the guest of honor in Variety's Club All Star Salute program. Jimmy Stewart hosted the show, and Cary Grant, Frank Sinatra, Goldie Hawn, Helen Hayes, Paul Henreid, and many of her former co-stars were on hand. She was honoured with the Illis Quorum, the Swedish King's award given to artists of note.

Bergman appeared on many talk shows and was interviewed by Merv Griffin, David Frost, Michael Parkinson, Mike Douglas, John Russell, and Dick Cavett about her life and work in the late 1970s.

In 1980, Bergman's autobiography, Ingrid Bergman: My Story, was published with the assistance of Alan Burgess. She addresses her childhood, her early career, her life during her time in Hollywood, the Rossellini fiasco, and subsequent events. The book was written after her son warned her that if she did not tell her own story, she would only be known through rumors and interviews. The Academy of Italian Cinema gave her the David di Donatello's Golden Medal of the Minister of Tourism in 1982.

Bergman appeared in a television mini-series titled A Woman Called Golda (1982), about late Israeli prime minister Golda Meir. It was to be her final acting role, and she was honoured with her second Emmy Award for Best Actress posthumously. Bergman was shocked to be given the opportunity, but the producer explained, "People believe you and trust you, and that is what I want because Golda Meir had the trust of the people." Isabella's daughter wrote, "Now, that was interesting to Mother." Golda was also persuaded that she was a "grand-scale person," one who was deemed taller than she actually was. Ingrid regrets that the situation "also had a special place for her," Chandler says, as she had so misjudged the situation in Germany during World War II.

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"Ingrid's rapidly declining health was a more significant issue," Chandler said. Bergman's insurance was impractical. Not only did she have cancer, but it was spreading, and no one knew how bad it was, no one would have continued with the scheme." Isabella said after watching the series on television: 'I've never seen it on television.'

Bergman identified her with Golda Meir because she, too, had felt guilty, according to her. Bergman tried to strike a balance between home and work demands, as well as the difficulty of being in two places at the same time. Bergman's arm was swollen after her cancer surgery. During the filming, she was often sick, recovering from the mastectomy, and lymph nodes removal. She was able to properly raise one arm as an actress, but she was unable to properly raise one arm. Her arm was propped up during the night, in an uncomfortable situation, so that the fluid would drain and enable her to perform her character's important gesture.

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Despite her health issues, she rarely complained or let others see the challenges she faced. Bergman died on her 67th birthday, four months after the filming was complete. Pia's daughter Emmy was given a Emmy after her mother's death.

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