Maojian
, Faroe Island in the summer of 1956.
Ingmar. Ingmar Bergman, 47 years old, Liv. Liv Ullmann, 27 years old. They filmed "Persona" on the island, recognized as Bergman's most mysterious film.
It's very hot. They rarely speak. During the day, Liv lay on the beach, lying down as if unconscious. She never thought about their future. She is a married woman and her husband is a psychiatrist. He has been married four times and has seven children. From the beginning, the other heroine of "Mask", Bibi. Bibi Andersson tried to tell Liv: stay away from this man. In the summer of ten years ago, like Liv, she fell in love with Bergman.
In the film, Bibi plays a nurse named Irma, and Liv plays a famous actress named Elizabeth. Elizabeth suffers from aphasia, and the doctor recommended that nurse Irma accompany her to the beach to recuperate. In the film, Irma speaks all the lines, but Elizabeth doesn't say a word. Gradually, Elma fell in love with Elizabeth, and she began to tell her about her secret life, sex and love affairs. But soon, Irma discovered that Elizabeth was talking about "The Irma Case" in a haughty tone in a letter to the doctor. Their relationship immediately became tense, and Irma began to hysterically and rudely asked Elizabeth to speak, and poured boiling water on her to make her speak. Finally, Elizabeth spoke with only one word; "Nothing". At the same time, Irma had a long dream. She dreamed that she was actually the same person as Elizabeth.
Liv. Uman
Irma and Elizabeth are the same person. Bibi and I are the same person. When Bergman saw my photos for the first time, he thought it was Bibi. Anderson. For our amazing similarity, he invited us to join the crew of "Mask." After the completion of "Mask", many people said that it was a movie about "two faces" or "one face". Bergman liked to close up the faces of Bibi and me. Sometimes, I watched Bibi on the screen. , Just like looking at yourself. However, just like he couldn't convince himself, Bibi couldn't let me leave Bergman.
Lying in the sun on Faroe Island, I think that was the only summer in my life. Bergman and I took a long walk along the coastline, but didn't say a word. We look at the sea for hours and hours, seeing each other as sea water, and still not say a word. I am dreaming, and I will wake up if I speak and dream. Bergman took a lot of photos for me, and everyone said that I looked beautiful, but sleepwalking.
Ingmar. Bergman
Liv is Norwegian, was born in Japan before World War II, his father and grandfather have died in the war, her childhood and therefore suffered great fear and sadness, she also developed a closed seek peace in the bathroom Habit. When I was on Faroe Island, I angered her once, and she locked herself in the bathroom and didn't want to come out anyway. From the doorway, I saw her sitting inside sadly, and she became the child who needed protection more than 20 years ago.
Liv. Uman
Faroe Island is between Russia and Sweden. I have never seen such a desolate place. It is like a relic of the Stone Age. At night, we can see the sea from the bed, the house is alone, we are alone, I only have Bergman, he only has Uman. Sometimes when he can't sleep, I just lie down beside him motionlessly, worrying that I will drift away from him and the silence of his beloved, worrying that I am not part of his thoughts. My sense of security comes from this dream-like silence. Only then, he is mine.
What belongs to me is the dog Pat I brought from my hometown. She used to be my former husband's dearest partner. Every day, when he returns from get off work in the hospital, she entangles him with passion. Later, I took her to Faroe Island. At the beginning, she and Bergman were like water and fire, and snarled when Bergman was pulling my hand. So Bergman and I could only kiss secretly and make intimacy secretly. But soon poor Pat gave up, and she saw that the fate of her mistress was in the hands of this man. She became intimate with him keeping pace with the times. Five years later, I broke up with Bergman, I took our daughter Lynn, Bergman left Pat. They stood together at the door of the house and said goodbye to us. Pat lowered his head, ashamed of his betrayal again.
Ingmar. Bergman
We have never been legally married, but I built that house on Faro Island, far away from the dust, with the intention of staying with Liv forever. Actually, I even forgot to ask Liv if I wanted to. I never asked her afterwards. When Liv published her autobiography "Changing" in 1977, I learned some of her thoughts at the time. Back then, she was invited by Jan Troell to star in "The Emigrants" and never came back.
When that day came, neither of us talked about breaking it. Everyone pretended that Liv had just traveled to Norway. She cleaned up her clothes, but didn't clean up Lin's. It was too obvious and too much like a breakup. Then she left Faroe Island.
Liv. Uman
We have lived together on the island for five years. Gradually, I found that he was headstrong and conceited, and he was also easy to be afraid. He was getting older and his hair was thinning, but none of this could weaken my respect for him. I know this is love.
But one day, looking at his back, I suddenly couldn't cry. We are breaking up soon, and the omen has come. For Christmas, I mistakenly bought smoked ham as fresh meat. After roasting for an hour, I brought it to the table. I can imagine how sad the dish was. Later, I took out the candle I bought and lit it again. Bergman turned pale when he saw the candle. It was a funeral candle.
He needs a more calm and tolerant woman. Soon after we broke up, I was invited to star in his "Cries and Whispers" (Cries and Whispers). In the filming crew, Bergman and another actress Ingrid. Feng. Ingrud von Rosen (Ingrud von Rosen) fell in love. Ingrid became Bergman's fifth wife. My daughter Lin likes Ingrid very much. She likes to go to Faroe Island to spend summer vacation with Bergman and Ingrid. Thanks to Ingrid, she didn't throw away the things I bought when I was on Faroe Island. The desk is still in the same place, the curtains are still there, the cupboards are all there, and my past years are still there. But Lin said: "The stool you and Bergman have sat on has allowed countless ass to sit on."
Ingmar. Bergman
I had a dream in which my life and Liv's life would be entangled in pain forever. That was my dream on Faro Island, when we were fascinated by each other. Thirty years later, Liv came to see me, and I took her back in the evening. We walked for a long time along the quiet roads of Stockholm. Liv was sixty-two years old and I was eighty-two years old. Death will come at any time, and there will be no lingering in the world. I am alone and have been married several times, which cost a lot of money. I have several children, most of whom are not familiar with them, and some do not even know them. As a person, I am a complete failure.
However, along the avenues of Stockholm, my eighty-year-old body became full of desire like never before.
Liv. Uman At
that moment, my life went through like a montage. My mother said, I was born in a small hospital in Tokyo, when a little mouse passed through the ward, she thought it was a good sign; at the same time, the nurse bent down and whispered to her apologetically: "I'm afraid it's a girl. Could you trouble you? Tell your husband yourself?"
Under a spruce tree, my first husband and I were covered with moss and leaves. We laughed, happy, laughed, and happy. We ran to buy the ring, because we were embarrassed, we told the sales lady that it was bought for someone else. Finally because of Bergman's divorce, he left without looking back after saying goodbye. But I kept looking back, kept returning...
Bergman Bergman Bergman, Bergman’s eyes, his shoes, his studio, our child Lynn, his sleep, he is facing The sea called...
I went to America, filmed in Hollywood, and acted on Broadway. Bergman took Ingrid to see me perform...
Ingmar. After Bergman
Liv left Faroe Island, half of the reporters in Scandinavia were asking: What happened to them? The parties did not say a word, and the newspapers had to search for hatred in the films we continued to collaborate with for decades: "Screaming and Whispers" in 1972, and "Scenes of Marriage" (Scenes frpm a in 1973). Marriage), "Face to Face" in 1976, "Autumn Sonata" in 1978, and until recently "Faithless" directed by Uman in 2000.
I don't know how many pasts are hidden in the movies we collaborated with, but I admit that Uman has always been my favorite actor. Every part of her body is full of emotions, permeated with a sad and ordinary sense of humanity. At the beginning of "The hour of the Wolf" (1968), Uman's face appeared on the screen, and the audience calmed down in her eyes, ready to accept this movie and accept me. Her simple face confided her joys and sorrows directly to the audience. She simply felt life, calculating the family income and expenditure with the artist husband at the table, jealous of her husband and mistress’s lingering past, caring about his nightmares at night... The critics often scolded me. The movie is cold and difficult to understand, but no one scolds Uman Mili, she is a woman in this world, a wife, and a mother. Even if she called hysterically, the audience still liked her.
Uman reminds me of Victor. Victor Sjostrom. Seusstrom is the protagonist of "Wild Strawberries" (1975). Every time he sees his eyes, his mouth, his sparse hair, wrinkled forehead, and his hesitation on the screen. I felt deeply shocked. "Wild Strawberry" is therefore no longer Bergman's movie, it is the movie of Seusstrom. He is a man who eclipses others. Uman is too.
Liv. Uman
Bergman is confused. Like the male protagonist in his movies, he has been wandering between reality and dreams, lies and reality, and in all his movies, he can travel through different time and space with ease. In fact, he has been a lie expert and visionary since he was a child. When he was seven years old, he told his classmates that his parents had sold him to Schumann's circus, and soon he was going to meet the most beautiful woman in the world and wander the world together. His relationship with his parents was extremely cold, and he was convinced that they didn't want him in the first place, so he kept mentioning: "I come from a cold womb."
But the fact is that he has been seeking love from his parents all his life, and his movies can be summed up with the same action and idea, that is: seeking. From "Smiles of a Summer Night" (1955) to "Autumn Sonata", from "Wild Strawberry" to "Fanny and Alexander" (Fanny and Alexander, 1980), The positive expression of this search is: At the end of "Wild Strawberry", Sarah took Ishak's hand and led him to a sunny forest glade, on the other side of the world, his parents were beckoning to him kindly. . The situation is like we are in "Autumn Sonata", playing my mother Ingrid. As Ingrid Bergman called: look at me, understand me, and if possible, forgive me!
The dark expression of this search is: In Shame (1968), the couple rowed a boat in the flames of war, and there were many dead bodies floating on the river. Many things died in their hearts. The woman asked: " Can't we talk anymore?" In From the life of the Marionettes (1980), Peter dreamed of his wife being murdered, but he just said in a daze: "Mirror Broken, what does the fragment reflect?"
Ingmar. Bergman
Many people asked me why Uman should direct my script "Betrayal". Simply put, because she is Uman, a woman I have known for forty years. And "Betrayal" comes from my own life experience, it is full of passion, almost a kind of tremor. Uman has seen this kind of passion, and she is familiar with the kind of tremor.
The background of "Betrayal" is Faroe Island, and the protagonist is me. The story goes like this: Bergman is brewing a script about his previous betrayal: For a woman, he abandoned a woman who was pregnant with his child. In a trance, the heroine Marianna appeared at his desk. Marianna was a successful stage actor, a very rich forty-year-old woman. The film then switched to Marianna's betrayal story: the cost of an ecstasy extramarital affair.
I like Uman's "Betrayal". I heard that the newspaper ridiculously called it "Bergerman's Precious Sword". The reporter interviewed Liv and asked her if she was sad. Bergman named her? Liv replied, "Sad? How could it be? That is my privilege." That was really her most my highest reward.
In fact, from Liv directed "Sofie" (1992), to the later "Christine. "Kristin Lavransdatter" (Kristin Lavransdatter, 1995), "Private Confessions" (1996) and "Betrayal", Liv's genius as a director is overflowing the embankment. She eased my inner struggle and eased my dizziness and tragedy. My story is: People who are bound by destiny tortured each other and become each other's shackles in vain. And the same story, in her lens, is no longer just about torture and betrayal. All the details brought the light of the past life, the heroine Mariana told ghostly, the writer Bergman took notes, and the relationship between them became more and more simple.
In her story, I feel that the resentment I complained to my parents as a child gradually dissipated. They also transformed into ordinary humans, and I longed to join them.
Liv. Uman
Bergman once photographed such a detail: a woman's gentle face suddenly appeared on the wall, but when we opened our hands for her favor, she closed her eyes sleepily. Bergman’s movies therefore often remind us cunningly: this is a movie. At the beginning of "Wolf's Moment", we could hear a director shouting: "Lighting-shooting -"
Many years ago, on Faroe Island, deep down in my heart, I had been waiting for this with fear. One beep: Close the lens and the shooting ends. I gradually couldn't bear the parting that might come at any time.
Finally, the ending of "Hiroshima Love" came, and I yelled to him in my heart: "I will forget you! I am already forgetting you! Look, how I am forgetting you! Look at me! "
Look at me! Look at me! Look at me!
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