American cinema, of Swedish origin, and theatre actress born in Stockholm (Sweden) on August 29, 1915, and died in London (Great Britain) on August 29, 1982.
Orphaned of mother at age two and father when I had only met the twelve, Ingrid Bergman spent much of his childhood and adolescence under the attentive care of an uncle. At eighteen he graduated at the Institute and, then, the shy and solitary Ingrid had already decided to become an actress. A year earlier, in 1932, had participated uncredited in a film Landskamp, today practically lost and it is not known who was the director. In 1933, he managed to be admitted to the Swedish Royal Theatre, but he dreamed of just being theatre actress; He wanted to be actress, so hard fought therefore presenting a multitude of tests. Finally, he got to debut, truly accredited and with phrases in his role in the count of the bridge of the monk (1935), Edvin Adolphson and Sigurd Wallén, a film that, although it was filmed in 1934, was not released until a year later. Ingrid was not yet that beauty which, a few years later, stunned the world, but on his face were already drawn some of the most beautiful features of the history of cinema; features which, after a few movies and some other diet, loomed in the first version of Intermezzo (1936), of Gustav Molander, a romantic melodrama that was an event in his time and a great triumph for the emerging Swedish film for its director, for their divo (Costa Ekman) and, above all, Ingrid Bergman, who rained down multiple offers from Hollywood. But it was the overwhelming (yet independent) producer David o. Selznick who, after seeing the film, sent an emissary of the Metro Goldwyn Mayer to buy the rights to the story, with a long contract for Miss Bergman.
Newly married to her first husband, Dr. Peter Lindstrom, with whom he had a daughter, Friedel Pia, Ingrid Bergman came in May 1939 to United States to carry out the second version of Intermezzo (1939), by Gregory Ratoff. Ingrid was a star in Sweden and demanded that the producer Selznick that neither change its name or its image, something to which were doomed European actresses who came to Hollywood. The great triumph of the film gave him the reason. Intermezzo marked an entire generation of young romantic in the ambiguity of the ultimate sacrifice, that seems artificial, without to forget the moments of happiness provided by guilty passion; Interestingly, the American people was, some years more later, much less forgiving, when Ingrid Bergman gave up her husband by Rossellini.
The same year of 1939, Ingrid Bergman returned to Sweden to fulfill his contract; There he made a couple of films of little importance. Back in Hollywood, he began to forge his enormous prestige, curiously, not to the greater glory of Selznick, who lent it to other studies. Tired of good characters, he insisted on interpreting the prostitute, Ivy Patterson, instead of being Beatrix Emery (which went to LanaTurner), the role that had been assigned, in the strange case of Dr. Jekyll (1941), of Victor Fleming, a flirtatious woman and easy and, later, martyred and terrorized by the magnificent Mr. Hyde of Spencer Tracy.
The following year transferred to Warner, he carried the legendary masterpiece Casablanca (1942), by Michael Curtiz. Curtiz Ingrid Bergman gave the most beautiful in the history of the cinema close-up: those where Bergman asks Sam to touch the 'As Time Goes By', those where this and Bogart (re) live his personal story of love in Paris and those in which, with watery eyes, she sees how must go with her rebel husband and leaving Humphrey once more again, but that was the beginning of a beautiful friendship.
After getting his first nomination to the Oscar for the adaptation of the Hemingway novel for whom bell tolls (1943), returned to the Metro to interpret, and Charles Boyer , Joseph Cotten, Gaslight (1944), George Cukor, where, under the direction of a great director of actresses, got the prized statuette by his memorable recreation of a sweet wife who almost go crazy by the grace of her ambitious husbandthat tries to turn it into a paranoid unrecoverable making that you create suffering delusions.
The same year in which took part in the popular the bells of Santa María (1945), Leo McCarey, sequel to following my path, became one of the famous blondes of Alfred Hitchcock, who made three films: remember (1945), notorious (1946), the more perfect union of romance and espionage of the English teacher, with a memorable rendition of Ingrid Bergman and Atormentada (1949), the sexiest of his career, and his companion of cast, the incomparable Cary Grant.
Rolled, in 1948, Juana de Arco, Victor Fleming, and in 1949, after being fascinated by some of the neorealist films of Rossellini, asked the Italian director interpret his next film. This was Stromboli (1950), work in which Rossellini renounces fundamentalism documentary to show the most emotive of the neorealist movement. In the film there is heroin and, even less, a hero. The end is an uncertain balance between hope and tragedy. Meanwhile, the romance between the Bergman and Rossellini took shape and became a reality with the birth of Robertino (then the twin Isota would come and also actress Isabella), the ensuing divorce from Dr. Lindstrom and immediate marriage in Mexico of the couple. From here, both filmmakers were marked by contempt for the public: Ingrid Bergman was disowned by the puritanical American society and Rossellini was wheeled Gigolo by the Italian press. Together, therefore, made a series of films that were poorly received, including the magnificent 51 Europe (1951) and the reviled Juana de Arco at the stake (1954).
(See cinematic neorealism)
But the Americans forgot and forgave. In 1956 filmed in England, but with production of the Fox, a famous historical theme, Anastasia, Anatole Litvak. Meanwhile, his relationship with Rossellini came to an end. Shortly after, in the delivery of the Oscar of the year 1957, newly obtained the divorce, won his second statuette.
In 1958, at the time that was once again paired with Cary Grant in a fun and sophisticated comedy, indiscreet (1958), Stanleydonen, married for the third time to theatrical producer Lars Schmidt, who also is divorced, after eighteen years of marriage, in 1976. By then, his theatrical career gave him more satisfaction that the film (interpreted from the outrageous tea and sympathy, in Paris, to prestigious pieces of Ibsenor O'Neill), although earlier, in 1974, had won his third Oscar, this time as secondary actress, by his interpretation of the old missionary Greta Ohlsson, on the all-star adaptation of Agatha Christie murder on the Orient Express (1974), of Sidney Lumet.
It was diagnosed at the end of the 1970s a cancer which fought working. He appeared with face demacrada in autumn Sonata (1978), by Ingmar Bergman, his latest work in the cinema; not had time to pick up the Emmy for his portrayal of israeli Prime Minister Golda Meir in the television film A Woman Called Golda (1982). He died the night of his sixty-seven anniversary, after a small birthday party hosted by a few friends. It was, without a doubt, face more sweet, beautiful and charming than the Golden Hollywood in the forties had the honor of glorify.
1932: (Uncredited) Landskamp. 1934: the count of the bridge of the monk. 1935: Breakers; The Swedenhielm; Spring night. 1936: To the destination; InterMezzo.1938: Dollar; A woman's face; The Pact of four. 1939: Destination; Intermezzo (US remake). 1940: A night of June. 1941: The four children of Adam; Soul in the shade; The strange case of Dr. Jekyll. 1942: Casablanca.1943: for whom the bell tolls. 1944: Gas light. 1945: The exotic; Remember; The bells of Santa María. 1946: Encadenados.1948: Arc de Triomphe; Joan of arc. 1949: Atormentada.1950: Stromboli.1951: Europe 51. 1953: We, the women. 1954: Juana de Arco at the stake (adaptation of the opera of the same title); Love you siempre.1955: fear. 1956: Elena and men; Anastasia.1958: Indiscreet; The Inn of the sixth happiness. 1961: Don't tell me goodbye. 1964: The visit of the grudge. 1965: The yellow Rolls-Royce. 1967: Stimulantia.1969: cactus flower. 1970: Secrets of a wife. 1973: Fugitivos.1974: murder on the Orient Express. 1976: Question of time/Nina. 1978: Autumn sonata.
1940: Liliom.1941: Anna Christie. 1946: Joan of Lorraine. 1956: Tea and sympathy. 1962: Hedda Gabler. 1965: A month in the field. 1967: More stately mansions. 1972: Captain Brassbound conversion. 1975: The constant wife. 1979: The waters of the moon.
1953: Juana de Arco at the stake.
1959: The turn of the screw. 1961: Twenty-four hours of a woman's life. 1963: Hedda Gabler (adaptation of the play of the same title). 1967: the human voice. 1982: a Woman Called Golda.
1943: Swedes in North America.
BERGMAN, i.: My life. Barcelona. Planet.
KOBAL, j.: People will talk. Barcelona. Seix Barral. 1987.