ইংমার বারিমান সম্পর্কে অন্য চলচ্চিত্রকারদের বক্তব্য

চলচ্চিত্র থেকে

উডি অ্যালেন

On one level there are the general run of filmmakers who supply the public with good, solid entertainment year after year. Above them are the artists who make films that are deeper, more personal, more original, more exciting. And finally, above them all, there's Ingmar Bergman, who is probably the greatest film artist, all things considered, since the invention of the motion picture camera.

ওলিভিয়ে আসায়াস

The situation is that a thread has been cut off and it's been very difficult for the generation that came right after the nouvelle vague. Filmmakers like André Téchiné, Philippe Garrel, Jacques Doillon, Benoît Jacquot, Chantal Akerman, or in a significantly different context, Jean Eustache and Maurice Pialat, all have had to reinvent–without the support of film theory–a relationship to cinema. They are the ones who had to rebuild something. And whatever they rebuilt certainly benefited the following generation, meaning mine. And one of the important things they did–consciously or unconsciously–is that they substituted Bergman to the nouvelle vague. They found a symbolic father figure in Bergman that helped them redefine an intimacy with actors, a way to express the existential issues of their generation, reformulate the continuity between writing and filming, in a completely different way. If I had to define where Bergman's legacy is, I would say everywhere in French cinema.

টেরেন্স ডেভিস

I don't regard Bergman as a religious film-maker. I think he's an atheist and he's saying there's nothing beyond this life. But that doesn't stop him from being spiritual and humanist.

ফেদেরিকো ফেলিনি

I don't go much to the movies, I don't follow it much. I make films with such passion that I am not able to be a spectator. However, I have seen some films–the author of today's films that I admire the most and find most congenial and that I feel as a brother is Bergman. I have seen only two films, Wild Strawberries and The Silence, but they were enough to make me love him as a brother, a milk brother.

ক্রিস্তফ কিশলফস্কি

I can identify with what Bergman says about life, about what he says about love. I identify more or less with his attitude toward the world...towards men and women and what we do in everyday life...forgetting about what is most important.

লুকাস মুডিসন

I like Bergman, but I don't think he's inspired me much. I've possibly been inspired by his attitude as an artist, which is that he takes himself completely seriously despite working within an artform that's often stupid and infantile.

ফ্রঁসোয়া ত্রুফো

Bergman is a stubborn, shy man. He devotes his whole life to the theatre and movies, and one has the sense that he is only happy when he's working surrounded by actresses, and that in the near future one won't see a Bergman film without women. I think he's more involved in the feminine principle than in feminism. Women are not seen through a masculine prism in his films, but are observed in a spirit of total complicity. His female characters are infinitely subtle, while his male characters are conventions.

লাস ফন ট্রিয়া

His greatest international breakthrough came with Cries and Whispers...And after that I don't think he's made any good films. My favourite is the trilogy around Persona, with The Silence and Persona and Winter Light. [Note: Persona is not a part of this trilogy; Through a Glass Darkly is.] Extremely important films. Persona is very interesting, and I also like his older films, but I can't stand Fanny and Alexander.

অরসন ওয়েলস

I don't condemn that very northern, very Protestant world of artists like Ingmar Bergman; it's just not where I live. The Sweden I like to visit is a lot of fun. But Bergman's Sweden always reminds me of something Henry James said about Ibsen's Norway–that it was full of 'the odour of spiritual paraffin.' How I sympathize with that!....I share neither his interests nor his obsessions. He's far more foreign to me than the Japanese.