Critical Summary.

Only available on StudyMode
  • Download(s): 975
  • Published: February 21, 2013
Read full document
Text Preview
Critical summary.

The analyzed extract represents an interview of Ingmar Bergman by Charles Thomas Samuels. Ingmar Bergman – a famous Swedish film director, writer and theatre producer was born in 1918.His psychological films are well known all over the world. He wrote the scripts for most of his films and won awards for many of them. The title of the text deals also with the whole book written by Ch. Thomas Samuels who went around the world to meet one by one with a great number of the best living film directors. Samuels had a style that came off on paper as probing, celebral, sometimes presumptuous, and not infrequently hairsplitting, going beyond challenging questions into pointed arguments over «implausible» bits of dialogue and sound effects and the worth of this or that film. The extract leads about the life of Ingmar Bergman, to be more exact, about the process of his becoming as a film director. The following text is written in the publicistic style and represents a blend of a dialogue, description and an account of events. As it’s a dialogue, the whole extract is written in the first person. The analyzed interview is concerned with the modern world as it took place in the twenty first century. The conversation between two men was going on in a free and natural atmosphere. In the exposition we find out about Bergman’s childhood that was not very easy. He always suffered of an almost complete lack of words. His education was very rigid. He had very few contacts with reality and playing with a puppet theatre and a projection device was the only form of his self- expression. In the gradation we find out why Bergman preferred the profession of a director to the profession of a writer. The gradation is especially well-expressed in the questions and emotions. Bergman confessed that writing was never his cup of tea. It was always difficult for him to find words he wanted. He felt something was left out. He directed in his head in a way. Bergman had to translate words into speeches, flesh and blood and had an enormous need for contact with the audience. For him words were not satisfying. And here we see the beginning of the conflict when two different approaches were confronted: Samuels said that Bergman’s films had emotional impact although they were intellectually difficult. The journalist gave Bergman’s film «The Rite» as an example. But the director answered that he never asked anybody to understand, he only asked to feel. «The Rite» expressed his resentment against the critics, audience and government. The purpose was to amuse himself and the audience. Then he made a reference to Stravinskiy and compared his attitude to music with his own to directing and understanding films. Stravinskiy never understood a piece of music in his life, he only felt. Here we can see the increasing of the emotional condition of the both men. They were almost irritated because they couldn’t accept the opinions of each other. At this very moment we deal with the climax, when Bergman practically exclaimed that he had made his pictures for use. They were made to put him in contact with other human beings. His impulse had nothing to do with intellect or symbolist. I don’t think we can say the conflict was settled because both of them stayed of the same mind although they went on their conversation in a quiet atmosphere. After this scene both of them calmed down and we begin to deal with the anti-climax. Bergman talked about Bibi Anderson who had managed to make «The Touch» more comprehensible for ordinary people and more powerful. He didn’t use much music in his pictures because a film is music itself. Bergman preferred to shoot in black and white and to force people to imagine the colors. Human communication occurred through words. That’s why he used so many dialogues. Samuels also mentioned...
tracking img