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The Magic Lantern: An Autobiography

by Ingmar Bergman , Joan Tate (Translator)

4.06 of 5 stars 4.06 · rating details · 1,147 ratings · 80 reviews

Ingmar Bergman, creator of such films as Wild Strawberries, Scenes from a Marriage and Fanny and Alexander turns his perceptive filmmaker's eye on himself for a revealing portrait of his life and obsessions. 16 pages of photos.

Paperback , 336 pages

Published November 1st 1989 by Penguin Books (first published January 1st 1987)

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Mar 15, 2014 Wael Mahmoud rated it 4 of 5 stars · review of another edition

Shelves: non-fiction , translated

أود في البداية أن أشير إلى أمرين:

الأول أن برجمان هو مخرجي المفضل منذ بداية وعي بالسينما كفن وحتى اللحظة، ولم يكن ينافسه على هذه المكانة في السابق إلا فيلليني وكوروساوا وأحياناً بونويل.

الثاني أن هذا الكتاب لا يمكن قرأته كما ينبغي إلا إذا شاهدت بعض أفلام برجمان, حيث عندها سيلعب الكتاب دور الكشاف لكثير من أفلامه بل وبعض المشاهد بالخصوص. وأقترح الأفلام الثلاثة التالية بالأخص لمشاهدتها مسبقاً قبل قراءة الكتاب : ضوء الشتاء 1963 - ساعة الذئب 1968 - مشاهد من حياة زوجية 1973.

الكتاب نفسه عبارة عن خليط من أود في البداية أن أشير إلى أمرين:

الأول أن برجمان هو مخرجي المفضل منذ بداية وعي بالسينما كفن وحتى اللحظة، ولم يكن ينافسه على هذه المكانة في السابق إلا فيلليني وكوروساوا وأحياناً بونويل.

الثاني أن هذا الكتاب لا يمكن قرأته كما ينبغي إلا إذا شاهدت بعض أفلام برجمان, حيث عندها سيلعب الكتاب دور الكشاف لكثير من أفلامه بل وبعض المشاهد بالخصوص. وأقترح الأفلام الثلاثة التالية بالأخص لمشاهدتها مسبقاً قبل قراءة الكتاب : ضوء الشتاء 1963 - ساعة الذئب 1968 - مشاهد من حياة زوجية 1973.

الكتاب نفسه عبارة عن خليط من ذكريات برجمان في طفولته وصباه وبداية حياته الفنية مع مواقف من حياته العملية في إخراج الأفلام والمسرحيات وإدارته للمسرح. الكتاب فرصة رائعة - إذا أقترنت بمشاهد أفلامه - لمعرفة كيف تكون عملية الإبداع جزء لا ينفصل عن الشخص نفسه وكيف أن الفن عمل شخصي بالأساس عندما يكون صادقاً. عندما يحكي برجمان عن حالاته العقلية والنفسية أشعر بأنه صديقي الذي أعرف عنه كل شيء بل إن هذه المشاعر والأحاسيس نُقلت إلي كما هي من خلاله أفلامه العظيمة. يضاف لما سبق أن تقنية الكتابة لديه ممتازة, تشعر في أحيان كثيرة أنك تقرأ لأديب متمكن وإن كان الكتاب بالطبع ليس على مستوى فنه السينمائي.

وأحب أن أنوه إلى عدم إعطاء تقييمات برجمان لأفلامه أهمية كبيرة, فهو يشاهدها ليس كمتذوق للفن السينمائي فقط بل كمبدع لهذه الأفلام أنتظر منها شيء ما يخصه, يتعامل معها أحياناً كأعماله على المسرح والذي قضى فيه القدر الأكبر من حياته والذي يبدو أنه يفضل العمل فيه مقارنة بالسينما.

تمنيت أن يخرج الفيلم الذي أشار إليه حول صانع الأفلام المجهول في زمن السينما الصامتة. كما تمنيت أن أحضر عروضه المسرحية.

تتبقى في النهاية الإشادة بترجمة الكتاب وبسلسلة الفن السابع السورية والتي قدمت العديد من الكتب السينمائية الهامة وكانت دائماً الأفضل عربياً. المشكلة الوحيد هي في ترجمة أسماء الأفلام التي كان يجب إما ذكر أسمها بالإنجليزية أو على الأقل الاسم التي أشتهرت به في الكتابات العربية. ...more

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Aug 24, 2010 David rated it 3 of 5 stars · review of another edition

vote·harvesting (vōt·′här·və·stiŋ) v. 1. writing brief, generally worthless Goodreads reviews, usually of one's back-catalogue, in order to increase one's (net) vote yield; 2. producing many (usually short, irrelevant) reviews with little regard for quality. n. 1. the act of vote·harvesting. See also vote harvest ; e.g., He can expect to see a large cumulative vote harvest from his one-sentence reviews of all those Little Golden Books.

Although my specific recollections of this book are as spotty vote·harvesting (vōt·′här·və·stiŋ) v. 1. writing brief, generally worthless Goodreads reviews, usually of one's back-catalogue, in order to increase one's (net) vote yield; 2. producing many (usually short, irrelevant) reviews with little regard for quality. n. 1. the act of vote·harvesting. See also vote harvest ; e.g., He can expect to see a large cumulative vote harvest from his one-sentence reviews of all those Little Golden Books.

Although my specific recollections of this book are as spotty as a poorly-secured maxi pad on a light flow day, I can say that it didn't leave me with a very favorable impression of Ingmar Bergman, the man. He never bothered to discuss the stuff I really wanted to read about (like behind-the-scenes gossip -- duh), but instead dwelt on his continuing problems with nervous diarrhea and his total lack of interest in his own children. He was apparently immensely inconvenienced by the manifold (nine) fetuses that resulted from his serial-fucking. He wrote about his kids as if they were dental appointments. For root canals even. (But maybe that's just my distorted residual impression.)

Did I mention the diarrhea? He talks about being enslaved to the porcelain throne during the periods leading up to the debuts of his stage productions. Normally, I'd like this kind of detail -- it's right up my (heh) alley -- but in this case I'm resentful because I imagine these bowel-related reveries taking the place of fun stuff. Like GOSSIP! There's really none of it. You may want to hear about Gunnar Björnstrand's sex-with-midget fetish or Gunnel Lindblom's tantrum at the craft services table or Sven Nykvist's addiction to speedballing and IKEA meatballs... but no. Aside from the diarrhea, this is one of those proper, dignified affairs. There's not even much insight into his films.

If you were doing a Q&A with the Berg (premortem, natch), you'd probably be all, like, 'The beginning to Persona : WTF, right?' But he's not interested in satisfying your banal curiosities. He'd rather tell you about his childhood fondness for magic lanterns... which is 'interesting' but also very kinda *yawn*. ...more

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Jul 23, 2012 Aya rated it 5 of 5 stars · review of another edition

Shelves: 2012-reads , biographies , cinema , favorites

هكذا يروى لنا برجمان حياته غير المثالية، لا يخجل أن يخبرنا تمرده منذ صغره، توتره وعصبيته وإضطراباته الجسدية المستمرة ورغباته في القتل والعنف والخيانة، كراهيته لوالده وعلاقته المضطربة بعائلته، وأفلامه.
تلاحظ إضطراباته وسوء خُلقه فيما ذكره ويتعلق بحياته الشخصية، لكنه يتحول إلى شخص رائع عندما يتحدث عن أفلامه، عن الإضاءة، عن إختياره لأماكن التصوير. العجيب أن برجمان لم يُثني على أي عمل من أعماله، حتى الجيد منها "مثل صرخات وهمسات أو بيرسونا" تجده يتحدث عن الصعوبات التي واجهته أثناء التصوير، ومع الممثلي هكذا يروى لنا برجمان حياته غير المثالية، لا يخجل أن يخبرنا تمرده منذ صغره، توتره وعصبيته وإضطراباته الجسدية المستمرة ورغباته في القتل والعنف والخيانة، كراهيته لوالده وعلاقته المضطربة بعائلته، وأفلامه.
تلاحظ إضطراباته وسوء خُلقه فيما ذكره ويتعلق بحياته الشخصية، لكنه يتحول إلى شخص رائع عندما يتحدث عن أفلامه، عن الإضاءة، عن إختياره لأماكن التصوير. العجيب أن برجمان لم يُثني على أي عمل من أعماله، حتى الجيد منها "مثل صرخات وهمسات أو بيرسونا" تجده يتحدث عن الصعوبات التي واجهته أثناء التصوير، ومع الممثلين والمنتجين ومع توزيع بعض الأفلام.. هل تتخيلوا أن برجمان لم يرضى تقريًبا عن أي عمل من أعماله!

برجمان يحمل بداخله ثورة، لا يؤمن بالله لكنه يؤمن بالمسرح، بكاميرا التصوير، بالسيناريو، بالأشباح، بوجه ليف أولمان الساحر.. برجمان الذي يؤمن بالحياة ويخشى الموت

"أكاد لا أتعرف على هذا الإنسان الذي كنته قبل أربعين عامًا، كانت محنتي عميقة وآلية القمع عندي تعمل بشكل فعال جدًا، وبصعوبة بالغة أستطيع الآن استحضار صور تلك المرحلة. عندما كنت أشعر بالخطر كنت أعض مثل كلب خائف. لم أثق بأحد ولم أحب أحدًا ولم أشتق إلى أحد. استحوذ الجنس علىَّ فكان يدفعني إلى خيانات دائمة وكانت تعذبني الرغبة والخوف والألم والإحساس بالذنب." ...more

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Sep 13, 2015 Ben rated it 5 of 5 stars

Shelves: favorites

Ingmar Bergman’s autobiography, The Magic Lantern , may not be the “best” book that I read this year (that word carries so much weight with it), but is quite probably my favorite book of the year. It has everything one often hopes for when reading an autobiography. In it Bergman not only provides readers with a discussion of his life and work, but he also is incredibly open – removing the curtain that typically separates the front and back stage, the work is very well-written and it is very easy Ingmar Bergman’s autobiography, The Magic Lantern , may not be the “best” book that I read this year (that word carries so much weight with it), but is quite probably my favorite book of the year. It has everything one often hopes for when reading an autobiography. In it Bergman not only provides readers with a discussion of his life and work, but he also is incredibly open – removing the curtain that typically separates the front and back stage, the work is very well-written and it is very easy for readers of this work familiar with Bergman’s films to draw parallels between his life and art.

While it is said that Fanny and Alexander is Bergman’s most personal film, my margins were also crammed full of notes linking passages about Bergman’s life to his other films, like The Seventh Seal, Wild Strawberries, Hour of the Wolf, Smiles of a Summer Night, Sawdust and Tinsel, The Magician and Cries and Whispers. And in it Bergman discusses not only his relationships with actors with whom he has collaborated (Harriet Andersson, Liv Ullmann, Bibi Andersson, Victor Sjöström, Ingrid Bergman, etc.), but also with such giant figures of the cinema (and stage) as Charlie Chaplin, Greta Garbo and Laurence Olivier. However, it is odd (in retrospect) that there was really no mention of the great male actors who are in so many Bergman films, such as Max von Sydow and Gunnar Björnstrand (though Bergman does include a chapter explaining that he does not wish to discuss any of his living friends – dead ones are a different matter, for it is more difficult to gauge whether or not they will be offended by one’s remarks).

I also found it interesting the parallels between Bergman (one of my favorite filmmakers) and one of my favorite writers, Marcel Proust. Both works are really very personal. Both works show us the path from boyhood to the realization of the artist’s true potential (filmmaking/stage direction and writing, respectively). The title of Bergman’s book is The Magic Lantern, which is a very familiar object to readers of Swann’s Way. The narrative begins with Bergman’s grandmother feeding him sponge cake soaked in water. Though this plays no role in Bergman’s involuntary memory later on, it does call to mind the narrator in Proust’s work eating a madeleine soaked in a spoonful of tea. Also, Bergman, like the narrator in À la recherche du temps perdu , travels with his grandmother and experiences his first young romantic encounter on this journey. Both also reveal certain neuroses over the course of their works, which are very similar to some of my own personal demons – my mother, who is one of the most ardent believers in astrology, would probably link this to the fact that we are all born under the sign of Cancer.

The parallels between the lives of Proust and Bergman were so close that I thought one could very well devise a fun party game out of the two texts. One would read a passage from Proust (or rather Proust by way of C.K. Scott Moncrieff) and from Bergman (as translated from the Swedish by Joan Tate) and have participants guess who wrote it. I think it would be a very fun and interesting game, but then again I’m a bit odd like that.

What I found most fascinating is that nowhere in the text does Bergman give any indication of reading Proust. He cites as his greatest influence the great Swedish playwright August Strindberg, and also mentions Ibsen and (to a lesser extent) Shakespeare. He also professes a love and lifelong fascination with cinema, and particularly American films.

This is a great companion piece to Bergman’s films and to Marie Nyreröd’s documentary Bergman Island. Originally Bergman Island was a three-part documentary that dealt with three different aspects of the famous director’s life: his filmmaking, his life on the island of Fårö and his career in the theatre. The last aspect was included at Bergman’s insistence, as he was proudest of his theatrical career, something that really shines through in this text. Of course, to modern viewers of the documentary, it is his filmmaking career that is of greatest interest. So, when the documentary started being shown in various places the aspects dealing with his theatrical career were often excluded (and they played a minimal role in the version of the film that was edited by Bergman and Nyreröd). This book contains a much deeper look into that part of Bergman’s life and career. Aware of his lifelong interest in theatre and his work as a stage director, but unfamiliar with his theatrical works themselves, I found these discussions the less interesting part of the work. But, at the same time, they are very important as they seemed to have contributed the most to Bergman’s sense of self and self-worth.

As far as autobiographies go this is one of the best, about a very fascinating artist and the path that he traveled, the failures he encountered and the self-doubts that he suffered with on his path to great artistry. A must-read for any fans of Bergman’s work, lovers of cinema or even for any with a passion for good books, as I don’t think one need be a Bergman fan or even be familiar with his work in order to appreciate the merits of the book itself.
...more

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Ben Matt, thanks for the comment. And very true -- they are textbook examples of Cancers.
Sep 14, 2015 12:19PM

Ben Fionnuala, thanks for the comment. Isn't it awful when comments get accidentally deleted? I've sometimes experienced that with entire reviews when typ ...more
Sep 14, 2015 12:23PM

Jan 29, 2015 Lavinia rated it 4 of 5 stars · review of another edition

Shelves: 2009 , art , journals-biographies-memoirs

I have no recollection of the moment I started watching and liking (that came in time, though) Bergman, since none of my friends and acquaintances had any taste in his films whatsoever. There must have been different listopias with his films, like '100 films to watch in a lifetime' or stuff like that.
Anyway, what struck me in Bergman’s several films I’ve seen so far ('Persona' being by far my favorite) was the deep sense of simplicity, the austere and grave atmosphere. Most of them being B/W, th I have no recollection of the moment I started watching and liking (that came in time, though) Bergman, since none of my friends and acquaintances had any taste in his films whatsoever. There must have been different listopias with his films, like '100 films to watch in a lifetime' or stuff like that.
Anyway, what struck me in Bergman’s several films I’ve seen so far ('Persona' being by far my favorite) was the deep sense of simplicity, the austere and grave atmosphere. Most of them being B/W, the films I’ve seen seem rather gloomy than enjoyable (in the broad sense most people refer to a film when they use the term), somber and cold but tense and with a strong (sometimes – most of the times?- weird and twisted) relation between the characters.
In the book I found a man totally different from what I imagined; an inconvenient and undesirable person, like a bull in a china shop, fighting depression and IRS (or whatever the Swedish Fiscal authority is called), permanently struggling to support his numerous family members (he was married 5 times). I sort of admire his courage to speak freely about intimate and uncomfortable issues like his relationship with his parents, God’s absence or his infidelities. I was quite surprised to find that he was not only successful with his films, but also a prominent theater director. And I praise his decision to use childhood memories or real-life facts in his films.

***

Cel mai mult duc dorul colaborarii cu Sven Nykvist. Aceasta se datoreaza, probabil, faptului ca amindoi sintem captivati cu totul de problema luminii: lumina blinda, periculoasa, lumina ca de vis, lumina vie, moarta, clara, cetoasa, fierbinte, rece, puternica, brusca, intunecata, primavarateca, dreapta, oblica, senzuala, supusa, limitata, otravitoare, linistitoare, lumina luminoasa. Lumina.

***

Unul din motivele pentru care-mi place Bergman. Pentru ca ilustreaza (in carte, ca si in filme) atit de fain conceptul de sunshine and silent rooms , pe care l-am descoperit (si de care m-am amorezat fara scapare) in picturile lui Hammershøi, Ilsted si Holsøe.

Iarna era pe sfirsite si lumina soarelui aparea si disparea cu miscari rapide si silentioase pe deasupra draperiilor si a tablourilor. In dreptul capului meu se inalta imensa masa din sufragerie. Mi-am sprijinit spatele de unul din picioarele arcuite ale mesei. Scaunele din jurul mesei precum si peretii aveau o tapiterie de piele aurie, innegrita de timp, emanind un miros de ceva vechi. In spatele meu, o servanta se inalta ca un castel, carafele de sticla si cupele de cristal sclipeau in lumina miscatoare. Pe perete, in partea stinga, atirna un tablou mare cu case galbene, rosii si albe. Case rasareau din apa albastra plina de barci mari.

Orologiul din sufragerie, care ajungea aproape pina la plafonul de stucatura, vorbea cu el insusi, morocanos si nepasator. De acolo de unde stateam puteam privi in salonul in care totul era verde: pereti, covoare, mobile, draperii chiar si ferigi si palmieri crescind acolo tot in vase verzi. O cunosteam pe doamna alba si goala, cu bratele taiate. Statea putin aplecata in fata, privindu-ma cu un suris vag. Pe comoda pintecoasa cu feronerii si picioare aurii ticaia un ceas aurit, sub un clopot de sticla. Un tinar cintind la flaut se sprijinea de cadran. Aproape lipita de el se afla o doamna micuta, cu o palarie mare si o rochie scurta si infoiata, ambele figurine erau aurite. Cind batea ora douasprezece, tinarul cinta la flaut iar fata dansa.

Lumina soarelui stralucea puternic, facind sa scinteie prismele in candelabrele de cristal, alunecind peste picturile cu casele ce cresteau din apa, dezmierdind albul statuii. Si din nou bateau clopotele, si din nou fata de aur dansa iar baiatul cinta, doamna cea goala intorcea capul sa-mi faca un semn. Moartea isi tira coasa pe linoleumul de pe coridorul intunecat, o presimteam, ii vedeam craniul galben si surisul, silueta neagra, desirata, conturindu-se de cealalta parte a geamurilor de la usa exterioara. ...more

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Jul 21, 2014 Bjorn rated it 4 of 5 stars · review of another edition

Shelves: sweden

Ah yes, the old myth of the tortured male genius and all that. And an autobiography containing everything from stories on how his dad used to beat him, about discovering masturbation and girls (in roughly that order), multiple marriages and families sacrificed to his "demons" and the drive to create ART, the torment from which great ideas are born, "truthlessness" as an excuse for rambling on at length...

So sue me. Bergman was a genius film maker, and what I love about his autobiography is that Ah yes, the old myth of the tortured male genius and all that. And an autobiography containing everything from stories on how his dad used to beat him, about discovering masturbation and girls (in roughly that order), multiple marriages and families sacrificed to his "demons" and the drive to create ART, the torment from which great ideas are born, "truthlessness" as an excuse for rambling on at length...

So sue me. Bergman was a genius film maker, and what I love about his autobiography is that everything he tells us about himself goes back to exactly that: how his life, his ideas, his experiences go back to his movies and plays. Anyone who reads this because they're interested in details of, say, his relationships with Liv Ullmann and Bibi Andersson will be disappointed; but for a well-written life story that works as a commentary track on his work at large, with some specifics on individual works, Laterna Magica is kind of brilliant. Bergman hardly uses the opportunity to paint himself in a very positive light, going on at length about his various neuroses, his failures at relationships and his initial admiration for nazism, but once again he always brings it back to the "Ah, so that's where that scene in Persona comes from" angle.

Most of our education was based around concepts like sin, confession, punishment, forgiveness and grace, concrete factors in the children's and the parents' relationships to each other and to god. (...) I think I got off easiest by turning myself into a liar. I created an outer persona who had very little to do with my real self. Since I was unable to separate my creation and my person, the damage had consequences well into my life and creativity as an adult. Sometimes I must console myself with the knowledge that he who lives a lie loves the truth. ...more

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Jan 22, 2012 Lindu Pindu rated it 2 of 5 stars · review of another edition

Recommends it for: no.

Shelves: film , memoirs-biographies

I don't know if I was upset at myself or Bergman for being so disappointed with this memoir. I expected to read more about his actual artistic output, a la Tarkovsky's Sculpting in Time .
What's most infuriating I realise now after having finished the book: he wants to seem very honest and open in his writing, making reference to this childhood ordeal or that crumbling personal relationship, but I perceive no such openness as a reader, only an attempt at it. It could be the translation. Then agai ...more

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Alexander Haha, danish pronunciation is awful for swedes too. It's just recently I've stopped watching norweigan and danish stuff with subtitles (it's possible ...more
Jan 27, 2012 03:19AM

PGR Nair Hi Lindu

I am an unabashed admirer of Bergman. I haven't read this book. May be it lacks literary merit, as you say (versus Tarakovsky). I think we sho ...more
Mar 23, 2012 11:05PM

Feb 09, 2014 Kimmo Sinivuori rated it 4 of 5 stars · review of another edition

I began reading this book some twenty years ago but had to give up because it was too brutal in its honesty. Luckily, I had followed Doris Lessing's advice that one should collect a private library so that when one suddenly has an urge to read a book one only needs to walk to the bookshelf and get the book. Another Lessing advice that the same book can be totally different experience when returning to it years later was proven right as well because this time around I really enjoyed the book.
The ...more

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Nov 02, 2012 Ian Robinson rated it 5 of 5 stars · review of another edition

I got this book to try and glean some insight into the workings of the mind of the Swedish genius of cinema Ingmar Bergman.
i have to say that if you are hoping for a look into the creation of his films, I think "Images", another autobiographical book, is the book for you.
This book focusses more on Bergman's personal life, his physical and mental health, his relationships and, with a remarkable and sometimes shocking candidness, his childhood.
Given this, the structure of the book is as unconvent ...more

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May 16, 2013 Yasmine rated it 5 of 5 stars · review of another edition

عندما كنت صغيرًا وأنام جيدًا كانت تعذبني أحلام بغيضة: جرائم، تعذيب جسدي، اختناق، سفاح القربى، تدمير، غضب أهوج، أما اليوم ومع تقدمي بالسن فإن أحلامي تغيب عن ذاكرتي ولا أحتفظ عنها إلا بانطباعات ودودة ومريحة.

**

أحيانًا أحلم بإنتاج ضخم يضم مجاميع هائلة من الناس مع موسيقى ومشاهد ملونة، وأهمس لنفسي وقد تملكها إحساس بالرضى المطلق “هذا إنتاجي، وأنا الذي أبدعته”.

**

أشعر بأن الأشباح والشياطين ومخلوقات أخرى مجهولة الأسماء والعناوين لا تزال تحوم حولي منذ الطفولة.

**

لا يموت الإنسان نهائيًا ويبقى الميت ليزعج الأ ...more

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Dec 12, 2012 Mamdouh Abdullah rated it 5 of 5 stars · review of another edition

لم أسجل يوماً في أي قراءة أية أمنية, بأن يكون هذا الفنان أو هذا المفكر كاتباً حتى أقرأ له. هنا, أجد نفسي التواقة إلى القراءة تحسد نفسي الأخرى العاشقة للسينما. لماذا لم يكن إنجمار برجمان كاتباً؟ لماذا لم تكن أعماله السينمائية أعمالاً أدبية في البداية ثم تتحول إلى السينما؟ هذا العقل العبقري لو اتجه للأدب لأحدث ثورة لا نهاية لها. أفكاره متجددة بشكل مذهل وعبقري. لا يكرر نفسه, بل يبدع في مجاله, كأن غاية حياته أن يكتب بقلمه ويجسدها على الشاشة. أن يتسع مجال الكتابة والإخراج لهذه الأعمال و بهذا التنوع لم أسجل يوماً في أي قراءة أية أمنية, بأن يكون هذا الفنان أو هذا المفكر كاتباً حتى أقرأ له. هنا, أجد نفسي التواقة إلى القراءة تحسد نفسي الأخرى العاشقة للسينما. لماذا لم يكن إنجمار برجمان كاتباً؟ لماذا لم تكن أعماله السينمائية أعمالاً أدبية في البداية ثم تتحول إلى السينما؟ هذا العقل العبقري لو اتجه للأدب لأحدث ثورة لا نهاية لها. أفكاره متجددة بشكل مذهل وعبقري. لا يكرر نفسه, بل يبدع في مجاله, كأن غاية حياته أن يكتب بقلمه ويجسدها على الشاشة. أن يتسع مجال الكتابة والإخراج لهذه الأعمال و بهذا التنوع الرهيب لهي عبقرية يُحسد عليها برجمان. رغم أن الأفكار التي تدور في ذهن برجمان وينقلها للشاشة لا تتجاوز أصابع اليدين إلا أن كل فكرة تتفجر من خلالها عدة أفكار أخرى. هذا التوليد للأفكار يعيد رسم الفكرة من عدة زوايا حتى يصل إلى المناطق المظلمة التي يصعب الوصول إليها. بعد قراءة برجمان على الشاشة سينمائياً, قرأت برجمان كتابياً عبر كتابه المصباح السحري, وهي سيرة ذاتية للمخرج. في سيرته الذاتية لم يظهر لي برجمان المخرج كما كنت أقرأه على الشاشة. كان المتحدث شخص يهوى المسرح إلى درجة التطرف و الجنون. يدخل من مسرح إلى مسرح آخر, ثم يتم اختياره من قبل الحكومة السويدية لإدارة المسرح الملكي, ثم يهرب, يستقيل .. يتجادل, والنتيجة أنه أصغر مدير مسرح في تاريخ السويد, وأحد أهم العباقرة الفنية في السويد. بدأ من المسرح ليصل إلى الكتابة والتأليف وكتابة النصوص والإخراج والإنتاج. المخرج ستيفن سبيلبرج يقول أن حب برجمان للسينما وعشقه لها يصيبني بالخجل. من بين كل الأقوال والتصريحات من المخرجين التي تشيد ببرجمان وترفع من قيمته, هذا التصريح هو الأهم. فبعد قراءتي لهذا الكتاب لم أصدق أن تصل حالة العشق للمسرح إلى هذه الدرجة من التوحد والالتحام. بعد اعتزاله للسينما والإخراج عاد إلى عشقه القديم: “المسرح هو المكان المناسب لحصان متعب مثلي.”

هنا قراءتي للكتاب من المدونة
http://wp.me/p28q6M-5s ...more

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Nov 30, 2008 Baiocco rated it 2 of 5 stars · review of another edition

Recommends it for: Bergman movie fans?

Shelves: autobiography

I tapped out of this book a few chapters in because I found myself either skipping pages at a time or sleeping. I had higher hopes of this because it took me a little while to track it down in the public library system, and because it has a cool title and because Bergman is supposedly an amazing filmmaker but then I tried to watch a few of his films and fell asleep too, and just didn't really have the time for. Not usually like me but maybe i just have to be at a different point in my life to ap ...more

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Nov 16, 2014 Ahmad Sharabiani rated it 4 of 5 stars · review of another edition

Shelves: culture , biography , non-fiction , swedish , literature , media , movie , 20th-century

the magic lantern: an autobiography of Ingmar Bergman (1918)
فانوس خیال: زندگینامه اینگمار برگمان
عنوان: فانوس خیال: زندگینامه اینگمار برگمان به قلم خودش؛ نویسنده: اینگمار برگمن؛ مترجمها: مهوش تابش، مسعود فراستی؛ مشخصات نشر: تهران، سروش (انتشارات صدا و سیما)، 1370، در 346 ص، عکس، موضوع: سینما ، تهیه کنندگان و کارگردانان
...more

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May 14, 2013 Rafael rated it 5 of 5 stars · review of another edition

Fiquei extremamente impressionado com a leitura de Lanterna Mágica, a autobiografia do grande Ingmar Bergman. Nota inicial, Bergman é um dos meus diretores de cinema favoritos. Admiro muito o seu cinema de temas filosóficos, longos diálogos, closes constantes no rosto dos atores. Concordo plenamente com Woody Allen (que assina a introdução do livro) quando ele diz que, se o cinema tem por ambiente, normalmente, o plano externo, Bergman é o oposto, fazendo filmes sobre a mente. Aliás, a melhor de Fiquei extremamente impressionado com a leitura de Lanterna Mágica, a autobiografia do grande Ingmar Bergman. Nota inicial, Bergman é um dos meus diretores de cinema favoritos. Admiro muito o seu cinema de temas filosóficos, longos diálogos, closes constantes no rosto dos atores. Concordo plenamente com Woody Allen (que assina a introdução do livro) quando ele diz que, se o cinema tem por ambiente, normalmente, o plano externo, Bergman é o oposto, fazendo filmes sobre a mente. Aliás, a melhor definição sobre o enredo de O Sétimo Selo (o meu filme favorito, como já disse aqui) foi, para mim, feita exatamente por Woody Allen.

O primeiro comentário sobre o livro é sobre cinema... Para quem gosta do cinema do mestre sueco, é interessante notar a quase ausência de histórias de bastidores dos filmes, anedotas de produção, ou mesmo dos métodos de criação dos filmes. Definitivamente, não é um livro sobre a produção cinematográfica Bermaniana, menos ainda, um manual teórico sobre cinema. Se o leitor espera um relato detalhado sobre como foram feitos O Sétimo Selo ou Gritos e Sussurros, vai se decepcionar.

Também é digno de nota o fato do autor praticamente não falar de temas que todos esperariam em uma biografia. As suas (várias) esposas e seus (muitos) filhos pouco são mencionados. Os filhos, em especial, mal são notados, transmitindo a clara sensação de que não possuem nenhuma importância na vida do autor. Pessoalmente, achei curioso como ele praticamente não fala de Liv Ullman, uma de suas grandes atrizes, com quem viveu por anos e teve uma filha. Digo isso especialmente porque vi, há pouco tempo, o documentário Liv e Ingmar, que mostra a profunda relevância que ele teve na vida dela.

A pergunta, então, é natural... Sobre o que fala o livro? É um livro (e aí me volto a concordar com Woody Allen) sobre sentimentos tristes, entremeado de histórias interessantes e curiosas, retratados de forma episódica, sem obedecer a qualquer espécie de ordem cronológica ou formal, o que, na minha opinião, é um grande trunfo da narrativa, escapando do clichê das biografias.

É um livro sobre uma relação familiar absolutamente doentia. Sobre uma infância oprimida pelo peso da criação cristã e de conceitos como culpa e salvação, temas, aliás, muito presentes no cinema Bergmaniano. Nesse sentido, é impressionante observar como a completa ausência de afeto familiar na infância gerou um adulto incapaz de se relacionar com a humanidade e como temas que foram extremamente presentes na sua criação vão ser constantemente retratados nos seus filmes (o melhor exemplo é o conflito entre fé e razão, normalmente representado no cinema pelo ensurdecedor silêncio de Deus).

As cicatrizes da infância são, de fato, visíveis por todo o livro. A constante ansiedade, a absurda necessidade do controle de tudo e todos, a busca de um sentido para o mundo (aliás, a definição de vida “você nasceu sem intenção, vive sem um sentido [...]. quando morrer vai apagar” é a prova de que não conseguiu) são mostradas, ainda que inadvertidamente às vezes, como um subproduto da opressão a que Bergman fora submetido durante toda a infância e juventude.

Também é digna de nota a honestidade quase cruel com que Bergman retrata a si e aos outros. Ele não se exime das responsabilidades por seu entusiasmado envolvimento e apoio ao nazismo nos anos trinta e quarenta (ao falar sobre o nazismo, diz “Gritei como todos os outros, estendi a mão como todos os outros, bradei como todos os outros, amei como todos os outros”), por seus constantes adultérios, por ser um pai, na melhor das hipóteses, ausente da vida dos filhos. Não omite, por sua vez, o período em que esteve internado em uma instituição psiquiátrica por conta do colapso nervoso decorrente da acusação de fraude fiscal nos anos setenta. Incrível é notar, como leitor, que esse retrato tão honesto e visceral não me fez gostar menos da obra de Bergman, mas, ao contrário, entende-la um pouco melhor.

Aliás, especificamente sobre trabalho, achei muito interessante como Bergman se entendia efetivamente como um homem de teatro mais do que qualquer coisa. A sua família verdadeira era o teatro, que, para ele, tinha algo de tão missionário quanto era a religião para seu pai, que era pastor. Fica muito claro que as suas grandes felicidades têm relação com o sucesso no teatro. O livro trata extensivamente da carreira teatral do autor, fala de montagens, de momentos diversos de encenações, das relações (normalmente ruins e conturbadas) com atores, técnicos, diretores, críticos.

Enfim, é acima de tudo, um texto absolutamente “Bergmaniano” em sua construção, que transmite o mesmo clima cinzento, abertamente opressivo de seus filmes. Paradoxalmente, terminei a leitura com a sincera sensação de que conheci realmente alguém. Altamente recomendável.

Resenha originalmente publicada em http://blogdorcf.blogspot.com.br/2013... ...more

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Mar 11, 2015 user12504947 rated it 3 of 5 stars · review of another edition

"Aš noriu ramybės, tvarkos, nuoširdumo. Tik šitaip mes galime priartėti prie begalybės. Tik šitaip įmenam mįsles ir įvaldom kartojimo mechanizmą. Kartojimas, gyvas, pulsuojantis kartojimas."

" Be tavęs nėra ir manęs. Žinoma, mes esam matę puikių spektaklių, atsiradusių iš laukinės neapykantos, tačiau neapykanta — irgi tam tikras prisilietimas, ji persmelkia taip pat kaip ir meilė."

"Tyla atrodydavo tarsi amžinybė, todėl, suprantama, buvo verta pagarbos."

"Wenn Du Geburtstag hast, bin ich bei Dir zu ...more

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Sep 29, 2015 Andres Sanchez rated it 4 of 5 stars · review of another edition

Recommends it for: fans of Ingmar Bergman

I am a big fan of Ingmar Bergman as a filmmaker and through this book, I was given a very intimate understanding of his life experiences, which in some ways, though not all, elaborate on his already very dense film work.

Beginning with his first memory, Bergman tells us everything from the difficulties he experienced growing up during WWII, under quite the dysfunctional roof, to his first experiences with love, his relationship with his emotions, his development as a young man, into a young adult ...more

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Apr 23, 2015 Solar added it · review of another edition

Въпреки заглавието си, в тази своя книга Бергман пише повече за театъра и вдъхновителя си Стриндберг, отколкото за киното. Вероятно повече пише за филмите си в книгите "Образи" и "Родени в неделя", които се надявам, че ще прочета.
Още първите страници откриват характерния за Бергман студен и изчистен в дълбочината си дух, който познаваме от филмите му. Пише доста за семейството си и споделя различни картини от детството си. Бил е син на пастор и семейството му е било "незащитено от хорските погле Въпреки заглавието си, в тази своя книга Бергман пише повече за театъра и вдъхновителя си Стриндберг, отколкото за киното. Вероятно повече пише за филмите си в книгите "Образи" и "Родени в неделя", които се надявам, че ще прочета.
Още първите страници откриват характерния за Бергман студен и изчистен в дълбочината си дух, който познаваме от филмите му. Пише доста за семейството си и споделя различни картини от детството си. Бил е син на пастор и семейството му е било "незащитено от хорските погледи". Изложеното на показ семейство и най-вече фигурата на бащата оставят у него чувството на притеснение, което е с него през целия му живот. Бергман назовава това като "бергмановска стеснителност", "бергмановска вдървеност"... Това безпокойство присъства почти във всяка страница от книгата.
Впечатлена съм от откровеността на тази личност. Смятам я за откровена, т.к. дори и да беше написана под псевдоним тази книга, веднага щях да усетя в думите Бергман с това уникално отношение към светлината и почти никакъв интерес към действието. При него няма граница между личността и твореца. Просто Бергман. Очарова ме един цитат, който може би най-точно обобщава Бергман: "Има живи картини, притежаващи цвят и звук, които завинаги са вмъкнати в прожекционния апарат на душата и точат своята лъкатушеща лента през целия ти живот, съхранявайки неизменно своята отчетлива, все така обективна яснота. И само собственото възприятие неумолимо и безжалостно се движи в посока към истината." ...more

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Sep 27, 2011 Newton rated it 3 of 5 stars · review of another edition

The first hundred pages or so, largely covering Bergman's childhood, are extremely interesting. The remaining 200 or so pages, unfortunately, were largely boring accounts of theatre productions. It should come as no surprise to anybody familiar with Bergman's films that he is a rather selfish, pompous, opinionated, and generally unpleasant individual (he readily admits as much throughout the autobiography). I wouldn't discourage a fan of his work from reading this, but would not generally recomm ...more

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Dec 22, 2014 Jaka rated it 5 of 5 stars · review of another edition

Shelves: biography , film , inspiring , dark

Pretty shocking what a bastard he was at times. In Laterna magica he couldn't have describet better how hard he tried to get to the bottom of his tendency to be a bastard. He always saw things that other couldn't, he saw the darkside of the human nature and that got him in troubles sometimes.

Him talking openly about that "dark" side of himself though is a very uplifting notion for me. Taking us through his dreams and imaginings, unveiling his ever-present thin line between reality and imaginati ...more

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Sep 20, 2015 Thomas Strömquist rated it 4 of 5 stars · review of another edition

Shelves: book-collection , tbc

By no means this should be the only work to dig into if you are interested in the great man, but the autobiography is very good and very interesting. It is also one of the handful of books I've read both in my native Swedish and translated and therefore I can say that the translation unfortunately is a bit lacking. Not disturbingly so though, I believe at least, for someone not making the comparison.

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May 09, 2014 عِماد عبابنة rated it 4 of 5 stars · review of another edition

أعجبني الكتاب بما فيه من عفوية , وطفولة .. بما فيه من حب وكره, من إيمان ,, ومن حالة تائهة دونها . ومن حالة بلا مشاعر

وكل هذا والكتاب ليس رواية أو قصة .. إنما حياة
حياة انغمار بيرغمان .. لا أدري إن كان مشهورا في عالمنا العربي كفاية
هو المخرج السويدي العبقري ... وربما الفنان السينمائي الأكثر عبقرية رأيته
فهو لا يقدم قصة من خلال أفلامه بل فن .. نعم فن وكأنه لوحة فنية بديعة أو معزوفة موسيقية آسرة . أو بيت شعر تحيطه المشاعر

فالصورة المتحركة لديه فن لتصوير أكثر مشاعر الانسان صعوبة على التصوير

هذا الكت أعجبني الكتاب بما فيه من عفوية , وطفولة .. بما فيه من حب وكره, من إيمان ,, ومن حالة تائهة دونها . ومن حالة بلا مشاعر

وكل هذا والكتاب ليس رواية أو قصة .. إنما حياة
حياة انغمار بيرغمان .. لا أدري إن كان مشهورا في عالمنا العربي كفاية
هو المخرج السويدي العبقري ... وربما الفنان السينمائي الأكثر عبقرية رأيته
فهو لا يقدم قصة من خلال أفلامه بل فن .. نعم فن وكأنه لوحة فنية بديعة أو معزوفة موسيقية آسرة . أو بيت شعر تحيطه المشاعر

فالصورة المتحركة لديه فن لتصوير أكثر مشاعر الانسان صعوبة على التصوير

هذا الكتاب هو قصة حياته .. على ما فيها ملامح طبيعية ربما لشخص أقل من عادي .. إنما غاص في تجارب جسدها جميعها بفنّه
فنّه هو حياته
وكما يقول فيديركيو فيلليني
"Every Film is an autobiography"

وهذا ما تراه واضحا عندما تلمح كل أفلام بيرغمان بين ثنايا وصفحات هذا الكتاب

جميل جدا الكتاب , وجعلني أرى أفلام يبرغمان بصورة افضل
...more

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Mar 23, 2015 Stratos rated it 4 of 5 stars · review of another edition

Τι πολυτάραχη ζωή είχε ο μεγάλος Σουηδός σκηνοθέτης! Μέσα από το αυτοβιογραφικό του βιβλίο, αναδεικνύονται οι προσωπικές του στιγμές, οι οικογενειακές αναταράξεις, οισχέσεις του με φίλους και γυναίκες, όλα αυτά που τα έδειξε στις ταινίες του. Οι φίλοι του θα πρέπει οπωσδήποτε να το διαβασουν

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Jan 31, 2012 Kit Fox rated it 4 of 5 stars

Pretty engaging reminiscences from one of the greatest directors in film history—though he kinda phoned-in the last 60 pages. Ever wondered what physical ailments the great Ingmar Bergman suffered from? Insomnia and IBS. And now you know.

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Oct 11, 2011 Edward added it · review of another edition

I quit around p. 150. Very tough read. It just wasn't engaging. I'm usually fine to push through books, but I have other books sitting in my to-read pile that drew me away. Maybe I'll finish it some other day.

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Apr 12, 2013 khaled alharbi rated it 5 of 5 stars · review of another edition

العمق الإنساني والبراعة الفنية نجدهما في كتاب بيرجمان
كما كنا نجدهما في أفلامه مضافاً لهما ذلك الحديث الشيق والصريح عن شخصية بيرجمان نفسه

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Feb 06, 2014 Philippe Malzieu rated it 5 of 5 stars · review of another edition

Original title is "Laterna magica".It is the history of a little boy who needed love. His mother had consulted a pediatrist. He had forbiden her to have affection gesture to his son. This is the history of an unhappy loveless little boy which discovers joy with a toy,a magic lantern.
He search happiness all his life. He met many women, he had many children. He had never find peace. He will deliver his anguishes in all his movies. I saw all of them. I prefer Monika, Persona,The Serpent's Egg, the ...more

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Feb 28, 2012 Kasper rated it 5 of 5 stars · review of another edition

Shelves: novels , my-collection

The first chapter is a tour-de-force! Bergman knows when to intimate and when to invent. A fascinating read.

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Sep 07, 2015 Zari added it · review of another edition

Shelves: biography , cinema , note , memory

"Film has dream, film has music. No form of art goes beyond ordinary consciousness as film does, straight to our emotions, deep into the twilight room of the soul. A little twitch in our optic nerve, a shock effect: twenty-four illuminated frames in a second, darkness in between, the optic nerve incapable of registering darkness. At the editing table, when I run the trip of film through, frame by frame, I still feel that dizzy sense of magic of my childhood: in the darkness of the wardrobe, I sl ...more

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Sep 26, 2015 طه نعمان rated it 4 of 5 stars · review of another edition

هي عبارة عن سيرة ذاتية لإنجمار برجمان السينمائي الرائع فهو مخرج وسيناريست وكاتب سينمائي ومدير مسرحي شهير وجمال هذه السيرة الذاتية نابع من الصدق ... فهو فعلا" صادق مع قراء هذه السيرة الذاتية فهو لايتوانى من سرد إخفاقاته المتتالية سواء في حياته الشخصية أو العملية رغم أنه يعتبر من أشهر المخرجين في العالم فقد ترشح لثمان مرات للاوسكار وفاز أكثر من مرة عاش حياته بالطول والعرض ولم يخجل من سرد هفواته أو حتى علاقته بوالديه ... أعتقد هكذا يجب أن تكون كتب السيرة الذاتية صادقة صادمة في نفس الوقت فهولاء العب ...more

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Dec 26, 2011 Teoteako Metreveli rated it 4 of 5 stars · review of another edition

ძალიან საინტერესოდ დაწერილი ავტობიოგრაფიული წიგნი

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About Ingmar Bergman

Ernst Ingmar Bergman was a nine-time Academy Award-nominated Swedish film, stage, and opera director. He depicted bleakness and despair as well as comedy and hope in his explorations of the human condition. He is recognized as one of the greatest and most influential filmmakers of modern cinema.

He directed 62 films, most of which he wrote, and directed over 170 plays. Some of his internationally k ...more

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Books by Ingmar Bergman

Four Screenplays of Ingmar Bergman: Smiles of a Summer Night/The Seventh Seal/Wild Strawberries/The Magician

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title link	preview: The Magic Lantern: An Autobiography
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Quotes from The Magic Lantern

“الصداقة مثل الحب، وجوهر الصداقة يقوم على الصراحة والعاطفة والصدق. من المريح أن ترى وجه صديقك أو تسمع صوته بالهاتف وتتحدث معه حول أمور مؤلمة وملحّة، وتسمعه يعترف بما يخشى التفكير به. إن للصداقة لمسة من الحسيّة، فشكل الصديق ووجهه وعيناه وشفتاه وصوته وحركاته ونبرة صوته، كل هذا محفور فى ذهنك، مفتاح سرّى يمنحك الثقة لأن تبوح بنفسك فى صداقة حقيقية.

إن علاقة الحب تنفجر متحولة إلى صراعات لا يمكن تفاديها، أما الصداقة فلا تحتاج إلى الرغبة نفسها من الاهتياج والتعقيم. فى أحيان كثيرة يلتصق الرمل بين أسطحة التواصل القابلة للخدش ويلى ذلك الأسف والصعوبات. أفكر وأقول لنفسى إننى أستطيع تدبير أمورى جيداً دون هذا الأحمق، ثم يمضى بعض الوقت ويظهر إحساس غير سار بفقدان هذا الشخص، إحساس يعبّر عن نفسه بمستويات مختلفة، واضحة أحياناً ومتكتمة غالباً.

الصداقة لا تعتمد على الوعود والاحتجاجات أو على الزمان والمكان. الصداقة غير متطلبة إلا فى أمر واحد. انها تتطلب الصدق، وهو مطلبها الوحيد، ولكن الصعب.” — 96 likes

“I'm planning, you see, to try to confine myself to the truth. That's hard for an old, inveterate fantasy martyr and liar who has never hesitated to give truth the form he felt the occasion demanded. ” — 32 likes

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The Magic Lantern: An Autobiography

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Quotes from The Magic Lantern