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Seen from the vantage ofthe extraordinary actresses who came to prominence in the films of Ingmar Bergman — Harriet Andersson, Liv Ullmann, Ingrid Thulin, and the sunny and anguished, incandescent and heartbreaking Bibi Anderssonwho died Sunday — enjoyed a relationship with their director that was rooted in a 20th-century male-gaze ethos. Bergman was famously obsessed with these women: with their faces, their personae, the dramatic possibilities they opened up to him. He carried on off-screen romantic relationships with most of them including Bibi Anderssonand in his movies he placed them on a grand pedestal of extravagant expression. The pedestal was framed not with a medium or long shot but with a starkly penetrating close-up.
Hair - Brunette black and white open shirt morning after nude in home. Liv Ullmann was already well established in her native Sweden when director Ingmar Bergman discovered her on the street in Stockholm. He put her in his classic arthouse hit Personaand soon she was the arthouse Marilyn Monroe.
Vanessa Alves. Beatriz Rossat. Jane Birkin.
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What is your shooting style like? The cinematographer does the lights, I do the framing. I believe the director does the framing. And the actors, they are the creators, really.
Before her film adaptation of the August Strindberg play Miss Julie debuted at September's Toronto film festival, Liv Ullmann screened it for a few viewers. One, after the credits rolled, turned to the director and said solemnly, "I think Ingmar Bergman would be proud of that. There it is again.