Distributor: Criterion Collection (USA)
Release Date: August 16, 2016
Region: Region A
Video: 1080P (MPEG-4, AVC)
Main Audio: 5.1 Multi-Language (Swedish, English, Italian, and French) DTS-HD Master Audio
Subtitles: English, English SDH
Bitrate: 32.33 Mbps
Notes: This title is also available in a DVD edition
“Some years ago I had a chance meeting with Isabella Rossellini, the daughter of Ingrid Bergman, and she presented me with a most direct proposition: ‘Shall we make a film about Mama?’ I saw this as a most challenging project, and when I later got access to her rich posthumous work – diaries, letters, photographs, amateur movies – my appreciation of Ingrid Bergman as a strong and most determined artist grew even bigger. With Ingrid Bergman: In Her Own Words (Jag är Ingrid) I’ve tried to make a rich and multi-colored portrait of this extraordinary human being, based to a large extent on her own offerings, her opinions as expressed in her private diaries and self-made amateur movies, her art as documented in films over more than four decades. And I have called in people close to her – her children – to witness about her life and her great offerings to all of us who have only gotten to know her from the silver screen.” -Stig Björkman (Cannes Press Book)
Scholars are apt to name Grace Kelly as Alfred Hitchcock’s most important leading lady, but those who have an acute awareness of the director’s entire career should find this rather short-sighted. It should be more than obvious that Ingrid Bergman was every bit as important to Hitchcock’s work. One imagines that scholarship would be quite different if Bergman happened to be a blonde, but to pontificate about this would only lead us further from our enchanting subject.
It is nearly impossible to write about Ingrid Bergman without mentioning the scandalous affair that left her Hollywood career in shambles for over half a decade. Manohla Dargis recently summarized this dramatic ordeal in a succinct paragraph:
“For those who know Bergman only as a Hitchcock brunette or as the dewy beauty who should have walked off with Humphrey Bogart in Casablanca, it may be hard to grasp that starting in the late 1940s, she became an international scandal by running off with Rossellini, ostensibly to make Stromboli. They made the film and, while she was married to her first husband, Petter Lindstrom, a child. It was an affair that seemed to have started with a letter or maybe a shared dream. ‘I was bored. I felt as if it was the end of growing,’ she is quoted as saying in an early biography — bored, too, it seemed, with a Hollywood she once sought. ‘I was searching for something, I knew not what.’” – Manohla Dargis (New York Times, November 12, 2015)
How this information could “be hard to grasp” after everything that has been written about it is beyond this reviewer’s comprehension, but it certainly shocked people at the time. As a matter of fact, Charles H. Percy even saw fit to denounce Bergman on the floor of the United States Senate, calling her “a powerful influence for evil.” It took time for Bergman to be welcomed back into American hearts, but this curse seems to have ended with the release of Anastasia in 1956.
Of course, none of this really mattered in the grand scheme of Ingrid Bergman’s life (or to those closest to her). To those who knew her, she wasn’t the Hollywood star that portrayed symbols of virtue (with a few noteworthy exceptions – including Hitchcock’s Notorious and Under Capricorn). She was simply an adoring mother who would be greatly missed by her children when they couldn’t be near her. She was a kind and compassionate friend. She was an ambitious and incredibly talented actress. She was a human being who couldn’t fit into the roles forced upon her by the public. The actress would later comment on her public image, saying “I’ve gone from saint to whore and back to saint again, all in one lifetime.”
Neither the saint nor the whore is represented here. Stig Björkman’s Ingrid Bergman: In Her Own Words instead prefers to reveal the human being that those closest to her remember, and it does this with remarkable intimacy. Through never-before-seen private footage, notes, letters, diaries and interviews with her children, this documentary presents a personal portrait and captivating look behind the scenes of the remarkable life of a young Swedish girl who became one of the most celebrated actresses of American and World cinema. Alicia Vikander gives Ingrid Bergman’s private letters and diary entries a voice while the viewer is shown vintage home movie footage of and shot by Bergman herself. Meanwhile, her family and friends speak candidly about their relationship with this remarkable woman. The overall result is a documentary that viewers should find dramatically compelling, because it is quite clear that Bergman’s inner life was a volcano of mixed feelings and emotions.
While she adored her daughter (Pia Lindström) and admired her husband (Dr. Petter Lindström), she didn’t feel fulfilled unless she was working:
I’m very busy as usual. A home, a husband, children—it should be enough for any woman. I thought I’d get a new role soon after Jekyll and Hyde. But, I’ve had nothing in four months. It’s two months too long. I think about every day that’s wasted. Only half of me is alive. The other half is packed away in a suitcase suffocating. What should I do?” -Ingrid Bergman (Letter read in “Ingrid Bergman: In Her Own Words”)
This seems like a very common dilemma faced by women of the era. How many young girls listened while their brothers were asked what they wanted to be when they are grew up only to be asked who they wanted to marry? In some ways, Ingrid Bergman was a living example of the feminist predicament during that period in history.
Meanwhile, Hitchcock fans will be happy to note that the director makes a few “cameo” appearances in the film; first in some very interesting Pathé newsreel footage of Bergman with her director, and again in some of Bergman’s very rare home movie footage. She discusses working with Hitchcock fondly in a letter to her one of her friends in Sweden:
“Mollie, my friend. We’re hard at work on Hitchcock’s Notorious. He’s so talented. Every day with him is pure happiness. He brings out the best in me, things I never imagined I possessed. He mixes serious with humor, comedy with drama. I thought Cary Grant would be conceited and stuck-up, but he’s one of the nicest co-stars I’ve ever worked with…” –Ingrid Bergman (Letter read in “Ingrid Bergman: In Her Own Words”)
Of course, this is mere icing on a rich and very satisfying slice of cake… or should it be life? It doesn’t really matter. Ingrid Bergman: In Her Own Words proves that a slice of life can be just as rewarding as a slice of cake.
4 of 5 MacGuffins
The Blu-ray disc is housed in the clear case that has become the standard for The Criterion Collection. F. Ron Miller’s artwork is well conceived and surpasses the film’s American one sheet artwork (which his design is based upon). An added bonus is the wonderful fold out pamphlet featuring an essay by Jeanine Basinger.
The disc’s menus utilize similar artwork to the cover, but the photo of Ingrid Bergman and her camera is different. This image is accompanied by music from the film’s score.
4 of 5 MacGuffins
Criterion’s transfer of the film is impressive and seems to be limited only by the source various materials in the feature. As is usual for Criterion, they have explained the technical specifications in the leaflet provided in the disc’s case:
“The film’s new footage was shot in Super 35mm HD with a Canon C300 digital camera and on Super 8mm film. The majority of the archival 8mm and 16mm film footage was obtained from the Wesleyan Cinema Archives in Middletown, Connecticut. This material was sent to Prasad Corporation in Burbank, California, and scanned in 4K resolution. Other materials, archived at the Cineteca Nazionale in Rome, were scanned in 2K resolution. Ingrid Bergman’s 8mm home movies were obtained from her daughter Pia Lindström, having previously been transferred from film to video. The location of the original reels for this material is unknown. The production was completed in a fully digital workflow.” –Liner Notes
Obviously, nearly all aspects of the image fluctuates in quality and it is quite difficult to give a concise overall report about the quality of the transfer. However, it does seem like the transfer showcases every element in the best possible light. One must at least say that the digitally shot interview footage is always crisp and clear with plenty of fine detail. This can also be said of many of the still images that are featured throughout the film. The quality of the 16mm and 8mm footage fluctuates from source to source, but the quality seems to accurately represent its source. (Frankly, the varying source materials are part of the film’s charm.)
4 of 5 MacGuffins
Criterion’s sound transfer seems to be a solid representation of the film’s source audio elements. The track no doubt benefited from the film’s digital workflow.
“This film features a fully digital soundtrack. The 5.1 surround audio for this release was mastered from the original audio master files using ProTools HD.” –Liner Notes
The result isn’t a flashy audio mix (there are relatively few separations), but the film’s important audio consists mostly of dialogue and music. It certainly suits the film’s needs; as the dialogue is always quite clear, and the music seems to have ample breathing room. There is quite a lot of archival audio included in the mix, and some of these tracks can be more difficult to understand than the majority of the program. However, these brief instances seem be an accurate reflection of the source clips.
4 of 5 MacGuffins
Criterion has included over an hour of related supplemental material for Bergman fans, and most of them are well worth the time that it takes to watch them.
Two Deleted Scenes:
“How I Would Raise My Daughter” – (02:54)
Ingrid Bergman’s Three Daughters (Pia Lindström, Isabella Rossellini, and Ingrid Rossellini) read an essay written by Ingrid Bergman at age seventeen. The essay was titled “How I Would Raise My Daughter.” It is interesting to hear her thoughts on motherhood at that age. However, one understands why it wasn’t included in the final film.
Interview with Rosario Tronnolone (Bergman Scholar) – (08:45)
Rosario’s interview is interesting, but it would have been out of pace in the finished film. He discusses his favorite photographs of Bergman and the photographers that took them, shows us the location of her wedding to Rossellini, and talks generally about her character.
Shubert Theatre – (14:01)
This is a longer version of the interview with Sigourney Weaver, Isabela Rossellini, and Liv Ullmann at the Shubert Theater. They seem to stray from the topic and begin discussing their own careers. It is interesting to hear them talk shop. However, most of this had no place in the actual film, and one is grateful that it was cut.
Rossellini Siblings – (05:48)
The three Rossellini siblings discuss their mother here at Isabella Rossellini’s home in New York. While much of this was used in the actual film, it is interesting to see the conversation continue.
8 mm Home Movies – (07:07)
Pia Lindström supplied Stig Björkman with 8mm footage that was shot by Ingrid Bergman in the 1930s and 1940s. However, some of the footage didn’t make it into the film. Luckily, what he didn’t use is included here (along with the footage that he did use). Hitchcock enthusiasts will find the footage especially fascinating, because there is quite a bit of rare footage of Alfred and Alma Hitchcock!
Interview with Stig Björkman – (18:35)
Stig Björkman discusses the genesis of the project, the research and gathering of various footage and other resources, the shape of the film (and various other ideas that were considered, and more. The interview is enhanced by photographs and footage from the documentary itself. It is surprisingly comprehensive, but all subjects discussed are merely touched upon in a very general way.
Clip from Landskamp (1932) – (00:34)
Ingrid Bergman worked as an extra in Landskamp, which was her first film appearance. She is one of a number of girls waiting in a line. She is quite young and a bit unrecognizable. The inclusion of this particular clip should make Bergman fans very happy, but it should be pointed out that most (if not all) of this same clip is included and discussed during the actual documentary.
Outtakes from På solsidan (1936) – (04:02)
These outtakes from På solsidan give viewers an interesting look at one of Bergman’s early Swedish performances in very raw form. She played the part of Eva Berghand opposite of Lars Hanson (as Herold Ribe) in her sixth film role.
Music Video for Eva Dahlgren’s “Filmen Om Oss” – (04:42)
The English version of this song (The Movie about Us) was used at the end of the film, and Eva Dahlgren’s video for the song uses a home movie aesthetic to mirror that of the documentary. It is an unusual supplement for a Criterion release, but it is interesting to hear the Swedish version of the song. It actually brings up an interesting question: If a Swedish version of the song exists, why would Björkman use the English version? A large percent of the documentary is in Swedish. It seems a bit odd that the song wouldn’t be in this same language. (This shouldn’t be read as a complaint.)
Theatrical Trailer – (01:35)
The theatrical trailer is quite effective. It certainly made this reviewer want to see this important, and it is nice to have it included here.
This intimate glimpse into the life of one of cinema’s most beloved actresses has been given a wonderful release by Criterion. Those who know Bergman’s story may not find many surprises here, but they will experience the information from a fresh and very personal perspective.
Review by: Devon Powell