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賮丕賳賵爻 禺蹖丕賱
毓賳賵丕賳 讴丕賲賱:
賮鈥嵷з嗏€嵸堌斥€� 禺鈥嵺屸€嵷з勨€�: 夭賳鈥嵷€嵺屸€嵸嗏€嵷з呪€嵸団€� 丕蹖鈥嵸嗏€嵹€嵸呪€嵷ж� 亘鈥嵷壁€嵸呪€嵷з嗏€� 亘鈥嵸団€屬傗€嵸勨€嵸呪€� 禺鈥嵸堌粹€�
賮鈥嵷з嗏€嵸堌斥€� 禺鈥嵺屸€嵷з勨€�: 夭賳鈥嵷€嵺屸€嵸嗏€嵷з呪€嵸団€� 丕蹖鈥嵸嗏€嵹€嵸呪€嵷ж� 亘鈥嵷壁€嵸呪€嵷з嗏€� 亘鈥嵸団€屬傗€嵸勨€嵸呪€� 禺鈥嵸堌粹€�
345 pages, Paperback
First published January 1, 1987
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7,198 people want to read
About the author
Ingmar Bergman
153听books595听followersErnst 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 in cinematic history.
He directed 62 films, most of which he wrote, and directed over 170 plays. Some of his internationally known favorite actors were Liv Ullmann, Bibi Andersson, and Max von Sydow. Most of his films were set in the stark landscape of his native Sweden, and major themes were often bleak, dealing with death, illness, betrayal, and insanity.
Bergman was active for more than 60 years, but his career was seriously threatened in 1976 when he suspended a number of pending productions, closed his studios, and went into self-imposed exile in Germany for eight years following a botched criminal investigation for alleged income tax evasion.
He directed 62 films, most of which he wrote, and directed over 170 plays. Some of his internationally known favorite actors were Liv Ullmann, Bibi Andersson, and Max von Sydow. Most of his films were set in the stark landscape of his native Sweden, and major themes were often bleak, dealing with death, illness, betrayal, and insanity.
Bergman was active for more than 60 years, but his career was seriously threatened in 1976 when he suspended a number of pending productions, closed his studios, and went into self-imposed exile in Germany for eight years following a botched criminal investigation for alleged income tax evasion.
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January 12, 2022
Laterna Magica = The Magic Lantern: an autobiography鈥� of Ingmar Bergman, Ingmar Bergman
Ingmar Bergman (July 14, 1918, Uppsala, Sweden, July 30, 2007, F氓r枚, Sweden) 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.
賮鈥嵷з嗏€嵸堌斥€� 禺鈥嵺屸€嵷з勨€�: 夭賳鈥嵷€嵺屸€嵸嗏€嵷з呪€嵸団€� 丕蹖鈥嵸嗏€嵹€嵸呪€嵷ж� 亘鈥嵷壁€嵸呪€嵷з嗏€屫� 鬲丕乇蹖禺 賳禺爻鬲蹖賳 禺賵丕賳卮: 乇賵夭 賴賮丿賴賲 賲丕賴 賳賵丕賲亘乇 爻丕賱1992賲蹖賱丕丿蹖
毓賳賵丕賳: 賮鈥嵷з嗏€嵸堌斥€� 禺鈥嵺屸€嵷з勨€�: 夭賳鈥嵷€嵺屸€嵸嗏€嵷з呪€嵸団€� 丕蹖鈥嵸嗏€嵹€嵸呪€嵷ж� 亘鈥嵷壁€嵸呪€嵷з嗏€� 亘賴 賯賱賲 禺賵丿卮貨 賳賵蹖爻賳丿賴: 丕蹖賳诏賲丕乇 亘乇诏賲賳貨 賲鬲乇噩賲賴丕: 賲賴賵卮 鬲丕亘卮貙 賲爻毓賵丿 賮乇丕爻鬲蹖貨 賲卮禺氐丕鬲 賳卮乇 鬲賴乇丕賳貙 爻乇賵卮 (丕賳鬲卮丕乇丕鬲 氐丿丕 賵 爻蹖賲丕)貙 爻丕賱1370貙 丿乇346氐貙 毓讴爻貙 趩丕倬 丿賵賲 爻丕賱1389貨 趩丕倬 爻賵賲 爻丕賱1392貨 卮丕亘讴9789643632816貨 趩丕倬 丿蹖诏乇 鬲賴乇丕賳貙 噩賴丕賳 丕丿蹖亘貨 爻丕賱1383貨 丿乇345氐貨 卮丕亘讴9649188835貨 賲賵囟賵毓: 爻蹖賳賲丕貙 夭賳丿诏蹖賳丕賲賴 禺賵丿賳賵卮鬲 鬲賴蹖賴 讴賳賳丿诏丕賳 賵 讴丕乇诏乇丿丕賳丕賳 爻賵卅丿 - 爻丿賴20賲
賮丕賳賵爻 禺蹖丕賱貙 夭賳丿诏蹖鈥屬嗀з呝� 蹖讴 丕賳爻丕賳 毓丕丿蹖 亘賴 賯賱賲 禺賵丿卮 丕爻鬲貙 讴賴 丿乇 讴賵丿讴蹖 卮蹖胤賳鬲貙 丿乇 賳賵噩賵丕賳蹖 胤睾蹖丕賳貙 丿乇 噩賵丕賳蹖 禺胤丕賴丕蹖 亘爻蹖丕乇貙 丿乇 賲蹖丕賳鈥屫池з勠� 丕丨爻丕爻 诏賳丕賴貙 賵 丿乇 爻丕賱禺賵乇丿诏蹖 丌乇夭賵蹖 噩亘乇丕賳 亘诏匕卮鬲賴鈥� 賴丕 乇丕貙 丿丕乇賳丿貨 丕賵 賲乇丿蹖 丕爻鬲 讴賴 丿乇 賴賮鬲丕丿 爻丕賱诏蹖貙 丕夭 禺賵丿 賵 禺丕賳賵丕丿賴鈥� 丕卮貙 丕夭 鬲噩乇亘賴鈥� 賴丕蹖卮貙 丕夭 丕丨爻丕爻丕鬲卮 賵 囟毓賮鈥屬囏й屫簇� 氐乇蹖丨 賵 亘蹖鈥屬矩必囏� 賵 诏丕賴 诏夭賳丿賴 賵 賳賯丕丿丕賳賴貙 爻禺賳 賲蹖鈥屭堐屫� 亘蹖鈥� 丌賳讴賴 丕丿毓丕蹖 丨賱 賲爻丕卅賱 賴爻鬲蹖 乇丕貙 丿丕卮鬲賴 亘丕卮丿貨 丨鬲蹖 丕丿毓丕蹖 丨賱 賲爻卅賱賴 蹖 蹖讴 丕賳爻丕賳 賲毓賲賵賱蹖 丿蹖诏乇 乇丕 賴賲 賳丿丕乇丿貨 賴乇 趩賳丿 讴賴 趩乇丕賴丕蹖 亘蹖鈥� 倬丕爻禺 亘爻蹖丕乇 亘乇丕蹖 禺賵丿卮 丿丕乇丿貙 趩乇丕賴丕蹖蹖 丿乇 亘丕亘 夭賳丿诏蹖貙 賲乇诏貙 毓卮賯 賵 ...貨 丕蹖賳 賲乇丿 芦爻賵卅丿蹖禄 倬乇讴丕乇 賵 禺賱丕賯貙 讴賴 丕讴賳賵賳 亘蹖卮 丕夭 賴賮鬲丕丿 爻丕賱 夭賳丿诏蹖貙 賵 丿賴鈥� 賴丕 賮蹖賱賲貙 賵 賳賲丕蹖卮賳丕賲賴貙 倬卮鬲 爻乇 禺賵蹖卮 丿丕乇賳丿貙 芦丕乇賳爻鬲 丕蹖賳诏賲丕乇 亘乇诏賲丕賳禄貙 讴丕乇诏乇丿丕賳 亘夭乇诏 賵 倬乇丌賵丕夭賴 蹖 爻蹖賳賲丕蹖 噩賴丕賳 賵 鬲卅丕鬲乇 芦爻賵卅丿禄 賴爻鬲賳丿
鬲丕乇蹖禺 亘賴賳诏丕賲 乇爻丕賳蹖 09/12/1399賴噩乇蹖 禺賵乇卮蹖丿蹖貨 21/10/1400賴噩乇蹖 禺賵乇卮蹖丿蹖貨 丕. 卮乇亘蹖丕賳蹖
Ingmar Bergman (July 14, 1918, Uppsala, Sweden, July 30, 2007, F氓r枚, Sweden) 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.
賮鈥嵷з嗏€嵸堌斥€� 禺鈥嵺屸€嵷з勨€�: 夭賳鈥嵷€嵺屸€嵸嗏€嵷з呪€嵸団€� 丕蹖鈥嵸嗏€嵹€嵸呪€嵷ж� 亘鈥嵷壁€嵸呪€嵷з嗏€屫� 鬲丕乇蹖禺 賳禺爻鬲蹖賳 禺賵丕賳卮: 乇賵夭 賴賮丿賴賲 賲丕賴 賳賵丕賲亘乇 爻丕賱1992賲蹖賱丕丿蹖
毓賳賵丕賳: 賮鈥嵷з嗏€嵸堌斥€� 禺鈥嵺屸€嵷з勨€�: 夭賳鈥嵷€嵺屸€嵸嗏€嵷з呪€嵸団€� 丕蹖鈥嵸嗏€嵹€嵸呪€嵷ж� 亘鈥嵷壁€嵸呪€嵷з嗏€� 亘賴 賯賱賲 禺賵丿卮貨 賳賵蹖爻賳丿賴: 丕蹖賳诏賲丕乇 亘乇诏賲賳貨 賲鬲乇噩賲賴丕: 賲賴賵卮 鬲丕亘卮貙 賲爻毓賵丿 賮乇丕爻鬲蹖貨 賲卮禺氐丕鬲 賳卮乇 鬲賴乇丕賳貙 爻乇賵卮 (丕賳鬲卮丕乇丕鬲 氐丿丕 賵 爻蹖賲丕)貙 爻丕賱1370貙 丿乇346氐貙 毓讴爻貙 趩丕倬 丿賵賲 爻丕賱1389貨 趩丕倬 爻賵賲 爻丕賱1392貨 卮丕亘讴9789643632816貨 趩丕倬 丿蹖诏乇 鬲賴乇丕賳貙 噩賴丕賳 丕丿蹖亘貨 爻丕賱1383貨 丿乇345氐貨 卮丕亘讴9649188835貨 賲賵囟賵毓: 爻蹖賳賲丕貙 夭賳丿诏蹖賳丕賲賴 禺賵丿賳賵卮鬲 鬲賴蹖賴 讴賳賳丿诏丕賳 賵 讴丕乇诏乇丿丕賳丕賳 爻賵卅丿 - 爻丿賴20賲
賮丕賳賵爻 禺蹖丕賱貙 夭賳丿诏蹖鈥屬嗀з呝� 蹖讴 丕賳爻丕賳 毓丕丿蹖 亘賴 賯賱賲 禺賵丿卮 丕爻鬲貙 讴賴 丿乇 讴賵丿讴蹖 卮蹖胤賳鬲貙 丿乇 賳賵噩賵丕賳蹖 胤睾蹖丕賳貙 丿乇 噩賵丕賳蹖 禺胤丕賴丕蹖 亘爻蹖丕乇貙 丿乇 賲蹖丕賳鈥屫池з勠� 丕丨爻丕爻 诏賳丕賴貙 賵 丿乇 爻丕賱禺賵乇丿诏蹖 丌乇夭賵蹖 噩亘乇丕賳 亘诏匕卮鬲賴鈥� 賴丕 乇丕貙 丿丕乇賳丿貨 丕賵 賲乇丿蹖 丕爻鬲 讴賴 丿乇 賴賮鬲丕丿 爻丕賱诏蹖貙 丕夭 禺賵丿 賵 禺丕賳賵丕丿賴鈥� 丕卮貙 丕夭 鬲噩乇亘賴鈥� 賴丕蹖卮貙 丕夭 丕丨爻丕爻丕鬲卮 賵 囟毓賮鈥屬囏й屫簇� 氐乇蹖丨 賵 亘蹖鈥屬矩必囏� 賵 诏丕賴 诏夭賳丿賴 賵 賳賯丕丿丕賳賴貙 爻禺賳 賲蹖鈥屭堐屫� 亘蹖鈥� 丌賳讴賴 丕丿毓丕蹖 丨賱 賲爻丕卅賱 賴爻鬲蹖 乇丕貙 丿丕卮鬲賴 亘丕卮丿貨 丨鬲蹖 丕丿毓丕蹖 丨賱 賲爻卅賱賴 蹖 蹖讴 丕賳爻丕賳 賲毓賲賵賱蹖 丿蹖诏乇 乇丕 賴賲 賳丿丕乇丿貨 賴乇 趩賳丿 讴賴 趩乇丕賴丕蹖 亘蹖鈥� 倬丕爻禺 亘爻蹖丕乇 亘乇丕蹖 禺賵丿卮 丿丕乇丿貙 趩乇丕賴丕蹖蹖 丿乇 亘丕亘 夭賳丿诏蹖貙 賲乇诏貙 毓卮賯 賵 ...貨 丕蹖賳 賲乇丿 芦爻賵卅丿蹖禄 倬乇讴丕乇 賵 禺賱丕賯貙 讴賴 丕讴賳賵賳 亘蹖卮 丕夭 賴賮鬲丕丿 爻丕賱 夭賳丿诏蹖貙 賵 丿賴鈥� 賴丕 賮蹖賱賲貙 賵 賳賲丕蹖卮賳丕賲賴貙 倬卮鬲 爻乇 禺賵蹖卮 丿丕乇賳丿貙 芦丕乇賳爻鬲 丕蹖賳诏賲丕乇 亘乇诏賲丕賳禄貙 讴丕乇诏乇丿丕賳 亘夭乇诏 賵 倬乇丌賵丕夭賴 蹖 爻蹖賳賲丕蹖 噩賴丕賳 賵 鬲卅丕鬲乇 芦爻賵卅丿禄 賴爻鬲賳丿
鬲丕乇蹖禺 亘賴賳诏丕賲 乇爻丕賳蹖 09/12/1399賴噩乇蹖 禺賵乇卮蹖丿蹖貨 21/10/1400賴噩乇蹖 禺賵乇卮蹖丿蹖貨 丕. 卮乇亘蹖丕賳蹖
April 1, 2024
It is an excellent book of memories (more self-analysis than an autobiography; nothing is chronological, but everything has logic, and everything is reflected).
Ingmar Bergman has never been able to speak to his mother. Then, in the last chapter, listening to Bach's Christmas oratorio (the chorale walked confidently through the darker and darker space: Bach's piety soothes the pain inflicted on us by our ungodliness.) A church inspires him with a final imaginary encounter with his mother, who died long before, by entering the church's clergy, which takes him back to his childhood. He knows now is not the right time.
"- I know that I disturb, that this is the moment when the mother wants to be alone, I know it. Before dinner, father rests, and mother reads or writes in her journal; I come from the church where I have listened to Bach's Christmas oratorio, it was so beautiful, the light was beautiful, I said to myself all the time: today I will try again, and this time it will be successful. "
Try to ask the questions that undermine him: Why was my brother made a disabled person? Why was my sister reduced to a cry? Why did I live with a wound that was still infected and never healed and went right through me? All I want to know is why, behind this fragile facade of social prestige, we have experienced such appalling misery.
And her mother tells her that she is so tired.
He answers his childish whys: "What I see with certainty is that my family was made up of beings of goodwill who bent under a catastrophic heritage of too high demands, of bad conscience and guilt. "
Her mother also responds finally, and this response constitutes the last sentences of this tormented and brilliant book:
In her diary, the month of the birth of her son Ernst Ingmar, she wrote: "I pray to God, without confidence. It will undoubtedly be necessary to fend for yourself, as best we can."
How as we can.
And the three children did as well as they could, each in their own way:
"I think I was the one who did the best, with the least damage, by lying to myself. I created a character for myself that had very little to do with my real self- as I didn't know how to separate. My creation and my person, the damage that resulted from it had long consequences both in my adult life and on my creativity. Sometimes I console myself by telling myself that he who has lived in a lie loves truth."
Laterna Magica is a thick book to read at a slow pace. Otherwise, you will get lost in this flood of personal and professional memories. I have a lot of obscure references, especially in terms of theatrical direction. But we never get bored at any time as the writing is brilliant, the story of failures and faults honest:
"I want to be embarrassing, irritating and hard to locate .."
But also about his work:
"In his old age, Euripides, the builder of coins, is exiled to Macedonia. He writes The Bacchantes. Stone after stone furiously assembles: contradictions collide with contradictions, adoration with blasphemy, daily life with ritual. He has had enough lecturing; he realizes that the part with the gods is offside. Commentators have spoken of the tiredness of the old poet. It is the opposite. Euripides represents men, gods, and the world caught in a relentless and absurd movement under an empty sky.
The Bacchantes is a testament to the courage involved in breaking molds. "
Brilliant "mold-breaker," subtle and very often ironic analyst of his life - and his life and work intertwined at home - which again becomes a helpless child when the memories and mysteries of misfortunes never cleared up, and many others spring back. This misfortune seems to me after reading this. Ingmar Bergman is one of the rare filmmakers to have made me cry.
The problem with the books I love is that I would like to copy many excerpts that moved me or made me smile because it's often funny! The meeting with Karajan, for example, offers him the opportunity to direct Turandot. Come on, just a little bit, like a quote.
And also, the shooting of Autumn's Sonata started badly.
Ingmar Bergman has never been able to speak to his mother. Then, in the last chapter, listening to Bach's Christmas oratorio (the chorale walked confidently through the darker and darker space: Bach's piety soothes the pain inflicted on us by our ungodliness.) A church inspires him with a final imaginary encounter with his mother, who died long before, by entering the church's clergy, which takes him back to his childhood. He knows now is not the right time.
"- I know that I disturb, that this is the moment when the mother wants to be alone, I know it. Before dinner, father rests, and mother reads or writes in her journal; I come from the church where I have listened to Bach's Christmas oratorio, it was so beautiful, the light was beautiful, I said to myself all the time: today I will try again, and this time it will be successful. "
Try to ask the questions that undermine him: Why was my brother made a disabled person? Why was my sister reduced to a cry? Why did I live with a wound that was still infected and never healed and went right through me? All I want to know is why, behind this fragile facade of social prestige, we have experienced such appalling misery.
And her mother tells her that she is so tired.
He answers his childish whys: "What I see with certainty is that my family was made up of beings of goodwill who bent under a catastrophic heritage of too high demands, of bad conscience and guilt. "
Her mother also responds finally, and this response constitutes the last sentences of this tormented and brilliant book:
In her diary, the month of the birth of her son Ernst Ingmar, she wrote: "I pray to God, without confidence. It will undoubtedly be necessary to fend for yourself, as best we can."
How as we can.
And the three children did as well as they could, each in their own way:
"I think I was the one who did the best, with the least damage, by lying to myself. I created a character for myself that had very little to do with my real self- as I didn't know how to separate. My creation and my person, the damage that resulted from it had long consequences both in my adult life and on my creativity. Sometimes I console myself by telling myself that he who has lived in a lie loves truth."
Laterna Magica is a thick book to read at a slow pace. Otherwise, you will get lost in this flood of personal and professional memories. I have a lot of obscure references, especially in terms of theatrical direction. But we never get bored at any time as the writing is brilliant, the story of failures and faults honest:
"I want to be embarrassing, irritating and hard to locate .."
But also about his work:
"In his old age, Euripides, the builder of coins, is exiled to Macedonia. He writes The Bacchantes. Stone after stone furiously assembles: contradictions collide with contradictions, adoration with blasphemy, daily life with ritual. He has had enough lecturing; he realizes that the part with the gods is offside. Commentators have spoken of the tiredness of the old poet. It is the opposite. Euripides represents men, gods, and the world caught in a relentless and absurd movement under an empty sky.
The Bacchantes is a testament to the courage involved in breaking molds. "
Brilliant "mold-breaker," subtle and very often ironic analyst of his life - and his life and work intertwined at home - which again becomes a helpless child when the memories and mysteries of misfortunes never cleared up, and many others spring back. This misfortune seems to me after reading this. Ingmar Bergman is one of the rare filmmakers to have made me cry.
The problem with the books I love is that I would like to copy many excerpts that moved me or made me smile because it's often funny! The meeting with Karajan, for example, offers him the opportunity to direct Turandot. Come on, just a little bit, like a quote.
And also, the shooting of Autumn's Sonata started badly.
July 5, 2016
Laterna Magica shows how difficult it is to define that odd word, "autobiography". Bergman isn't very interested in telling you what happened, though you absolutely don't get the feeling that he's trying to hide anything from you either. He isn't interested in defending himself from the numerous charges that have been filed against him (sex addict, irresponsible father, tax evader, etc). What he wants to do is show you how he experienced his life from the inside, and turned that raw material into some of the 20th century's most remarkable films.
So don't read this book if you hope to find out the truth about his fight with the Swedish tax authorities, or who was to blame when his numerous marriages and amorous liaisons broke down, or to what extent he was a Nazi sympathizer. (If you really have to know what his own take was: not guilty, guilty, guilty). But if you've been wondering for ages about the origin of the hand in Persona
or the character of Desir茅e Armfeldt in Midsommarnattens Leenden
then you won't be able to put it down.
I suppose Bergman is a monster, but after a while you simply accept him on his own terms. That isn't the relevant question. He comes home unexpectedly in the middle of the night, his wife greets him with pleasure and surprise, and he tells her, without even removing this coat, that he's leaving her for someone else; then he uses it in Scener ur ett 脛ktenskap. His father beats and humiliates him, and he become the Bishop in Fanny och Alexander. Very few artists are willing to take you backstage like this and demonstrate how it all works. In the end, you see he's just the uncertain, neurotic, mythomaniac kid who receives a magic lantern and figures out how he's going to get the most out of his fantastic new Christmas present. We should all be so lucky. I loved this book.
So don't read this book if you hope to find out the truth about his fight with the Swedish tax authorities, or who was to blame when his numerous marriages and amorous liaisons broke down, or to what extent he was a Nazi sympathizer. (If you really have to know what his own take was: not guilty, guilty, guilty). But if you've been wondering for ages about the origin of the hand in Persona
or the character of Desir茅e Armfeldt in Midsommarnattens Leenden
then you won't be able to put it down.
I suppose Bergman is a monster, but after a while you simply accept him on his own terms. That isn't the relevant question. He comes home unexpectedly in the middle of the night, his wife greets him with pleasure and surprise, and he tells her, without even removing this coat, that he's leaving her for someone else; then he uses it in Scener ur ett 脛ktenskap. His father beats and humiliates him, and he become the Bishop in Fanny och Alexander. Very few artists are willing to take you backstage like this and demonstrate how it all works. In the end, you see he's just the uncertain, neurotic, mythomaniac kid who receives a magic lantern and figures out how he's going to get the most out of his fantastic new Christmas present. We should all be so lucky. I loved this book.
June 17, 2022
兀賵丿 賮賷 丕賱亘丿丕賷丞 兀賳 兀卮賷乇 廿賱賶 兀賲乇賷賳:
丕賱兀賵賱 兀賳 亘乇噩賲丕賳 賴賵 賲禺乇噩賷 丕賱賲賮囟賱 賲賳匕 亘丿丕賷丞 賵毓賷 亘丕賱爻賷賳賲丕 賰賮賳 賵丨鬲賶 丕賱賱丨馗丞貙 賵賱賲 賷賰賳 賷賳丕賮爻賴 毓賱賶 賴匕賴 丕賱賲賰丕賳丞 賮賷 丕賱爻丕亘賯 廿賱丕 賮賷賱賱賷賳賷 賵賰賵乇賵爻丕賵丕 賵兀丨賷丕賳丕賸 亘賵賳賵賷賱.
丕賱孬丕賳賷 兀賳 賴匕丕 丕賱賰鬲丕亘 賱丕 賷賲賰賳 賯乇兀鬲賴 賰賲丕 賷賳亘睾賷 廿賱丕 廿匕丕 卮丕賴丿鬲 亘毓囟 兀賮賱丕賲 亘乇噩賲丕賳貙 丨賷孬 毓賳丿賴丕 爻賷賱毓亘 丕賱賰鬲丕亘 丿賵乇 丕賱賰卮丕賮 賱賰孬賷乇 賲賳 兀賮賱丕賲賴 亘賱 賵亘毓囟 丕賱賲卮丕賴丿 亘丕賱禺氐賵氐. 賵兀賯鬲乇丨 丕賱兀賮賱丕賲 丕賱孬賱丕孬丞 丕賱鬲丕賱賷丞 亘丕賱兀禺氐 賱賲卮丕賴丿鬲賴丕 賲爻亘賯丕賸 賯亘賱 賯乇丕亍丞 丕賱賰鬲丕亘 : 囟賵亍 丕賱卮鬲丕亍 1963 - 爻丕毓丞 丕賱匕卅亘 1968 - 賲卮丕賴丿 賲賳 丨賷丕丞 夭賵噩賷丞 1973.
丕賱賰鬲丕亘 賳賮爻賴 毓亘丕乇丞 毓賳 禺賱賷胤 賲賳 匕賰乇賷丕鬲 亘乇噩賲丕賳 賮賷 胤賮賵賱鬲賴 賵氐亘丕賴 賵亘丿丕賷丞 丨賷丕鬲賴 丕賱賮賳賷丞 賲毓 賲賵丕賯賮 賲賳 丨賷丕鬲賴 丕賱毓賲賱賷丞 賮賷 廿禺乇丕噩 丕賱兀賮賱丕賲 賵丕賱賲爻乇丨賷丕鬲 賵廿丿丕乇鬲賴 賱賱賲爻乇丨. 丕賱賰鬲丕亘 賮乇氐丞 乇丕卅毓丞 - 廿匕丕 兀賯鬲乇賳鬲 亘賲卮丕賴丿 兀賮賱丕賲賴 - 賱賲毓乇賮丞 賰賷賮 鬲賰賵賳 毓賲賱賷丞 丕賱廿亘丿丕毓 噩夭亍 賱丕 賷賳賮氐賱 毓賳 丕賱卮禺氐 賳賮爻賴 賵賰賷賮 兀賳 丕賱賮賳 毓賲賱 卮禺氐賷 亘丕賱兀爻丕爻 毓賳丿賲丕 賷賰賵賳 氐丕丿賯丕賸. 毓賳丿賲丕 賷丨賰賷 亘乇噩賲丕賳 毓賳 丨丕賱丕鬲賴 丕賱毓賯賱賷丞 賵丕賱賳賮爻賷丞 兀卮毓乇 亘兀賳賴 氐丿賷賯賷 丕賱匕賷 兀毓乇賮 毓賳賴 賰賱 卮賷亍 亘賱 廿賳 賴匕賴 丕賱賲卮丕毓乇 賵丕賱兀丨丕爻賷爻 賳購賯賱鬲 廿賱賷 賰賲丕 賴賷 賲賳 禺賱丕賱 兀賮賱丕賲賴 丕賱毓馗賷賲丞. 賷囟丕賮 賱賲丕 爻亘賯 兀賳 鬲賯賳賷丞 丕賱賰鬲丕亘丞 賱丿賷賴 賲賲鬲丕夭丞貙 鬲卮毓乇 賮賷 兀丨賷丕賳 賰孬賷乇丞 兀賳賰 鬲賯乇兀 賱兀丿賷亘 賲鬲賲賰賳 賵廿賳 賰丕賳 丕賱賰鬲丕亘 亘丕賱胤亘毓 賱賷爻 毓賱賶 賲爻鬲賵賶 賮賳賴 丕賱爻賷賳賲丕卅賷.
賵兀丨亘 兀賳 兀賳賵賴 廿賱賶 毓丿賲 廿毓胤丕亍 鬲賯賷賷賲丕鬲 亘乇噩賲丕賳 賱兀賮賱丕賲賴 兀賴賲賷丞 賰亘賷乇丞貙 賮賴賵 賷卮丕賴丿賴丕 賱賷爻 賰賲鬲匕賵賯 賱賱賮賳 丕賱爻賷賳賲丕卅賷 賮賯胤 亘賱 賰賲亘丿毓 賱賴匕賴 丕賱兀賮賱丕賲 兀賳鬲馗乇 賲賳賴丕 卮賷亍 賲丕 賷禺氐賴貙 賷鬲毓丕賲賱 賲毓賴丕 兀丨賷丕賳丕賸 賰兀毓賲丕賱賴 毓賱賶 丕賱賲爻乇丨 賵丕賱匕賷 賯囟賶 賮賷賴 丕賱賯丿乇 丕賱兀賰亘乇 賲賳 丨賷丕鬲賴 賵丕賱匕賷 賷亘丿賵 兀賳賴 賷賮囟賱 丕賱毓賲賱 賮賷賴 賲賯丕乇賳丞 亘丕賱爻賷賳賲丕.
鬲賲賳賷鬲 兀賳 賷禺乇噩 丕賱賮賷賱賲 丕賱匕賷 兀卮丕乇 廿賱賷賴 丨賵賱 氐丕賳毓 丕賱兀賮賱丕賲 丕賱賲噩賴賵賱 賮賷 夭賲賳 丕賱爻賷賳賲丕 丕賱氐丕賲鬲丞. 賰賲丕 鬲賲賳賷鬲 兀賳 兀丨囟乇 毓乇賵囟賴 丕賱賲爻乇丨賷丞.
鬲鬲亘賯賶 賮賷 丕賱賳賴丕賷丞 丕賱廿卮丕丿丞 亘鬲乇噩賲丞 丕賱賰鬲丕亘 賵亘爻賱爻賱丞 丕賱賮賳 丕賱爻丕亘毓 丕賱爻賵乇賷丞 賵丕賱鬲賷 賯丿賲鬲 丕賱毓丿賷丿 賲賳 丕賱賰鬲亘 丕賱爻賷賳賲丕卅賷丞 丕賱賴丕賲丞 賵賰丕賳鬲 丿丕卅賲丕賸 丕賱兀賮囟賱 毓乇亘賷丕賸. 丕賱賲卮賰賱丞 丕賱賵丨賷丿 賴賷 賮賷 鬲乇噩賲丞 兀爻賲丕亍 丕賱兀賮賱丕賲 丕賱鬲賷 賰丕賳 賷噩亘 廿賲丕 匕賰乇 兀爻賲賴丕 亘丕賱廿賳噩賱賷夭賷丞 兀賵 毓賱賶 丕賱兀賯賱 丕賱丕爻賲 丕賱鬲賷 兀卮鬲賴乇鬲 亘賴 賮賷 丕賱賰鬲丕亘丕鬲 丕賱毓乇亘賷丞.
丕賱兀賵賱 兀賳 亘乇噩賲丕賳 賴賵 賲禺乇噩賷 丕賱賲賮囟賱 賲賳匕 亘丿丕賷丞 賵毓賷 亘丕賱爻賷賳賲丕 賰賮賳 賵丨鬲賶 丕賱賱丨馗丞貙 賵賱賲 賷賰賳 賷賳丕賮爻賴 毓賱賶 賴匕賴 丕賱賲賰丕賳丞 賮賷 丕賱爻丕亘賯 廿賱丕 賮賷賱賱賷賳賷 賵賰賵乇賵爻丕賵丕 賵兀丨賷丕賳丕賸 亘賵賳賵賷賱.
丕賱孬丕賳賷 兀賳 賴匕丕 丕賱賰鬲丕亘 賱丕 賷賲賰賳 賯乇兀鬲賴 賰賲丕 賷賳亘睾賷 廿賱丕 廿匕丕 卮丕賴丿鬲 亘毓囟 兀賮賱丕賲 亘乇噩賲丕賳貙 丨賷孬 毓賳丿賴丕 爻賷賱毓亘 丕賱賰鬲丕亘 丿賵乇 丕賱賰卮丕賮 賱賰孬賷乇 賲賳 兀賮賱丕賲賴 亘賱 賵亘毓囟 丕賱賲卮丕賴丿 亘丕賱禺氐賵氐. 賵兀賯鬲乇丨 丕賱兀賮賱丕賲 丕賱孬賱丕孬丞 丕賱鬲丕賱賷丞 亘丕賱兀禺氐 賱賲卮丕賴丿鬲賴丕 賲爻亘賯丕賸 賯亘賱 賯乇丕亍丞 丕賱賰鬲丕亘 : 囟賵亍 丕賱卮鬲丕亍 1963 - 爻丕毓丞 丕賱匕卅亘 1968 - 賲卮丕賴丿 賲賳 丨賷丕丞 夭賵噩賷丞 1973.
丕賱賰鬲丕亘 賳賮爻賴 毓亘丕乇丞 毓賳 禺賱賷胤 賲賳 匕賰乇賷丕鬲 亘乇噩賲丕賳 賮賷 胤賮賵賱鬲賴 賵氐亘丕賴 賵亘丿丕賷丞 丨賷丕鬲賴 丕賱賮賳賷丞 賲毓 賲賵丕賯賮 賲賳 丨賷丕鬲賴 丕賱毓賲賱賷丞 賮賷 廿禺乇丕噩 丕賱兀賮賱丕賲 賵丕賱賲爻乇丨賷丕鬲 賵廿丿丕乇鬲賴 賱賱賲爻乇丨. 丕賱賰鬲丕亘 賮乇氐丞 乇丕卅毓丞 - 廿匕丕 兀賯鬲乇賳鬲 亘賲卮丕賴丿 兀賮賱丕賲賴 - 賱賲毓乇賮丞 賰賷賮 鬲賰賵賳 毓賲賱賷丞 丕賱廿亘丿丕毓 噩夭亍 賱丕 賷賳賮氐賱 毓賳 丕賱卮禺氐 賳賮爻賴 賵賰賷賮 兀賳 丕賱賮賳 毓賲賱 卮禺氐賷 亘丕賱兀爻丕爻 毓賳丿賲丕 賷賰賵賳 氐丕丿賯丕賸. 毓賳丿賲丕 賷丨賰賷 亘乇噩賲丕賳 毓賳 丨丕賱丕鬲賴 丕賱毓賯賱賷丞 賵丕賱賳賮爻賷丞 兀卮毓乇 亘兀賳賴 氐丿賷賯賷 丕賱匕賷 兀毓乇賮 毓賳賴 賰賱 卮賷亍 亘賱 廿賳 賴匕賴 丕賱賲卮丕毓乇 賵丕賱兀丨丕爻賷爻 賳購賯賱鬲 廿賱賷 賰賲丕 賴賷 賲賳 禺賱丕賱 兀賮賱丕賲賴 丕賱毓馗賷賲丞. 賷囟丕賮 賱賲丕 爻亘賯 兀賳 鬲賯賳賷丞 丕賱賰鬲丕亘丞 賱丿賷賴 賲賲鬲丕夭丞貙 鬲卮毓乇 賮賷 兀丨賷丕賳 賰孬賷乇丞 兀賳賰 鬲賯乇兀 賱兀丿賷亘 賲鬲賲賰賳 賵廿賳 賰丕賳 丕賱賰鬲丕亘 亘丕賱胤亘毓 賱賷爻 毓賱賶 賲爻鬲賵賶 賮賳賴 丕賱爻賷賳賲丕卅賷.
賵兀丨亘 兀賳 兀賳賵賴 廿賱賶 毓丿賲 廿毓胤丕亍 鬲賯賷賷賲丕鬲 亘乇噩賲丕賳 賱兀賮賱丕賲賴 兀賴賲賷丞 賰亘賷乇丞貙 賮賴賵 賷卮丕賴丿賴丕 賱賷爻 賰賲鬲匕賵賯 賱賱賮賳 丕賱爻賷賳賲丕卅賷 賮賯胤 亘賱 賰賲亘丿毓 賱賴匕賴 丕賱兀賮賱丕賲 兀賳鬲馗乇 賲賳賴丕 卮賷亍 賲丕 賷禺氐賴貙 賷鬲毓丕賲賱 賲毓賴丕 兀丨賷丕賳丕賸 賰兀毓賲丕賱賴 毓賱賶 丕賱賲爻乇丨 賵丕賱匕賷 賯囟賶 賮賷賴 丕賱賯丿乇 丕賱兀賰亘乇 賲賳 丨賷丕鬲賴 賵丕賱匕賷 賷亘丿賵 兀賳賴 賷賮囟賱 丕賱毓賲賱 賮賷賴 賲賯丕乇賳丞 亘丕賱爻賷賳賲丕.
鬲賲賳賷鬲 兀賳 賷禺乇噩 丕賱賮賷賱賲 丕賱匕賷 兀卮丕乇 廿賱賷賴 丨賵賱 氐丕賳毓 丕賱兀賮賱丕賲 丕賱賲噩賴賵賱 賮賷 夭賲賳 丕賱爻賷賳賲丕 丕賱氐丕賲鬲丞. 賰賲丕 鬲賲賳賷鬲 兀賳 兀丨囟乇 毓乇賵囟賴 丕賱賲爻乇丨賷丞.
鬲鬲亘賯賶 賮賷 丕賱賳賴丕賷丞 丕賱廿卮丕丿丞 亘鬲乇噩賲丞 丕賱賰鬲丕亘 賵亘爻賱爻賱丞 丕賱賮賳 丕賱爻丕亘毓 丕賱爻賵乇賷丞 賵丕賱鬲賷 賯丿賲鬲 丕賱毓丿賷丿 賲賳 丕賱賰鬲亘 丕賱爻賷賳賲丕卅賷丞 丕賱賴丕賲丞 賵賰丕賳鬲 丿丕卅賲丕賸 丕賱兀賮囟賱 毓乇亘賷丕賸. 丕賱賲卮賰賱丞 丕賱賵丨賷丿 賴賷 賮賷 鬲乇噩賲丞 兀爻賲丕亍 丕賱兀賮賱丕賲 丕賱鬲賷 賰丕賳 賷噩亘 廿賲丕 匕賰乇 兀爻賲賴丕 亘丕賱廿賳噩賱賷夭賷丞 兀賵 毓賱賶 丕賱兀賯賱 丕賱丕爻賲 丕賱鬲賷 兀卮鬲賴乇鬲 亘賴 賮賷 丕賱賰鬲丕亘丕鬲 丕賱毓乇亘賷丞.
August 24, 2010
惫辞迟别路丑补谤惫别蝉迟颈苍驳 (惫艒迟路鈥瞙盲谤路惫蓹路蝉迟颈艐) v. 1. writing brief, generally worthless 欧宝娱乐 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 惫辞迟别路丑补谤惫别蝉迟颈苍驳. 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 Bj枚rnstrand'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*.
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 Bj枚rnstrand'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*.
February 26, 2023
廿賷賴 丕賵賱 3 丨丕噩丕鬲 賮賰乇鬲 賮賷賴丕 亘毓丿 賲丕 禺賱氐鬲 丕賱賰鬲丕亘 丿賴責
廿賳賷 毓丕賷夭 兀賯乇兀賴 鬲丕賳賷 .. 廿賳 丿賴 兀賮囟賱 賰鬲丕亘 賯乇兀鬲賴 丕賱爻賳丞 丿賷 .. 廿賳 丿賴 兀賮囟賱 賰鬲丕亘 賯乇兀鬲賴 賮賷 丨賷丕鬲賷.
兀賵賱 賮賷賱賲 廿鬲賮乇噩鬲 毓賱賷賴 賱亘賷乇睾賲丕賳 賰丕賳 "丕賱禺鬲賲 丕賱爻丕亘毓" 賵 乇睾賲 廿賳賴 賮賷賱賲 賯氐賷乇 賱賰賳 賴鬲丨爻 廿賳賰 廿鬲賮乇噩鬲 毓賱賶 賲賱丨賲丞貙 毓丿鬲 賮鬲乇丞 胤賵賷賱丞 賵 亘毓丿 賰丿賴 廿鬲賮乇噩鬲 毓賱賶 "丕賱鬲賵鬲 丕賱亘乇賷" 賵 丨爻賷鬲 廿賳賴 賮賱爻賮賷 噩丿丕賸 賵 廿賳賷 賲賮賴賲鬲賵卮 賲賳 兀賵賱 賲乇丞貙 賱賰賳 丕賱賮賷賱賲賷賳 兀賰丿賵賱賷 廿賳 氐丕賳毓賴賲 賵丕丨丿 賲賳 兀毓馗賲 氐賳丕毓/毓亘丕賯乇丞 丕賱爻賷賳賲丕 賮賷 丕賱鬲丕乇賷禺.
丕賱賰鬲丕亘 毓亘丕乇丞 毓賳 噩夭卅賷賳 賲禺賱賵胤賷賳 毓賱賶 亘毓囟貙 噩夭亍 毓賳 鬲噩丕乇亘 "亘賷乇睾賲丕賳" 丕賱爻賷賳賲丕卅賷丞 賵 賲睾丕賲乇丕鬲賴 賵 丕賱賲卮丕賰賱 丕賱賱賷 賯丕亘賱賴丕 賵 毓賱丕賯鬲賴 亘丕賱賳爻丕亍. 賵 丕賱噩夭亍 丕賱孬丕賳賷 亘賷鬲賰賱賲 賮賷賴 毓賳 胤賮賵賱鬲賴 賵 毓賳 氐乇丕毓賴 賲毓 賵丕賱丿賴 賵 氐乇丕毓丞 賲毓 毓賷賱鬲賴 毓賲賵賲丕賸. 賲賷夭丞 丕賱賰鬲丕亘 丿賴 廿賳賴 賲卮 賲噩乇丿 匕賰乇賷丕鬲 爻賷賳賲丕卅賷丞 賵 禺賱丕氐貙 亘丕賱毓賰爻貙 丕賱賰鬲丕亘 亘賷賯丿賲 丿乇賵爻 賱兀賷 丨丿 亘賷丨亘 丕賱爻賷賳賲丕 賵 賳賮爻賴 賷亘賯賶 賲禺乇噩. 廿鬲囟丨 噩丿丕賸 賮賷 丕賱賰鬲丕亘 丨亘 "亘賷乇睾賲丕賳" 賱賱賲爻乇丨 兀賰鬲乇 賲賳 丕賱爻賷賳賲丕貙 賵 廿鬲囟丨 兀賰鬲乇 廿賳賴 賵丕丨丿 賲賳 兀毓馗賲 賲禺乇噩賷 丕賱毓丕賱賲.
廿賳賷 毓丕賷夭 兀賯乇兀賴 鬲丕賳賷 .. 廿賳 丿賴 兀賮囟賱 賰鬲丕亘 賯乇兀鬲賴 丕賱爻賳丞 丿賷 .. 廿賳 丿賴 兀賮囟賱 賰鬲丕亘 賯乇兀鬲賴 賮賷 丨賷丕鬲賷.
兀賵賱 賮賷賱賲 廿鬲賮乇噩鬲 毓賱賷賴 賱亘賷乇睾賲丕賳 賰丕賳 "丕賱禺鬲賲 丕賱爻丕亘毓" 賵 乇睾賲 廿賳賴 賮賷賱賲 賯氐賷乇 賱賰賳 賴鬲丨爻 廿賳賰 廿鬲賮乇噩鬲 毓賱賶 賲賱丨賲丞貙 毓丿鬲 賮鬲乇丞 胤賵賷賱丞 賵 亘毓丿 賰丿賴 廿鬲賮乇噩鬲 毓賱賶 "丕賱鬲賵鬲 丕賱亘乇賷" 賵 丨爻賷鬲 廿賳賴 賮賱爻賮賷 噩丿丕賸 賵 廿賳賷 賲賮賴賲鬲賵卮 賲賳 兀賵賱 賲乇丞貙 賱賰賳 丕賱賮賷賱賲賷賳 兀賰丿賵賱賷 廿賳 氐丕賳毓賴賲 賵丕丨丿 賲賳 兀毓馗賲 氐賳丕毓/毓亘丕賯乇丞 丕賱爻賷賳賲丕 賮賷 丕賱鬲丕乇賷禺.
丕賱賰鬲丕亘 毓亘丕乇丞 毓賳 噩夭卅賷賳 賲禺賱賵胤賷賳 毓賱賶 亘毓囟貙 噩夭亍 毓賳 鬲噩丕乇亘 "亘賷乇睾賲丕賳" 丕賱爻賷賳賲丕卅賷丞 賵 賲睾丕賲乇丕鬲賴 賵 丕賱賲卮丕賰賱 丕賱賱賷 賯丕亘賱賴丕 賵 毓賱丕賯鬲賴 亘丕賱賳爻丕亍. 賵 丕賱噩夭亍 丕賱孬丕賳賷 亘賷鬲賰賱賲 賮賷賴 毓賳 胤賮賵賱鬲賴 賵 毓賳 氐乇丕毓賴 賲毓 賵丕賱丿賴 賵 氐乇丕毓丞 賲毓 毓賷賱鬲賴 毓賲賵賲丕賸. 賲賷夭丞 丕賱賰鬲丕亘 丿賴 廿賳賴 賲卮 賲噩乇丿 匕賰乇賷丕鬲 爻賷賳賲丕卅賷丞 賵 禺賱丕氐貙 亘丕賱毓賰爻貙 丕賱賰鬲丕亘 亘賷賯丿賲 丿乇賵爻 賱兀賷 丨丿 亘賷丨亘 丕賱爻賷賳賲丕 賵 賳賮爻賴 賷亘賯賶 賲禺乇噩. 廿鬲囟丨 噩丿丕賸 賮賷 丕賱賰鬲丕亘 丨亘 "亘賷乇睾賲丕賳" 賱賱賲爻乇丨 兀賰鬲乇 賲賳 丕賱爻賷賳賲丕貙 賵 廿鬲囟丨 兀賰鬲乇 廿賳賴 賵丕丨丿 賲賳 兀毓馗賲 賲禺乇噩賷 丕賱毓丕賱賲.
May 9, 2019
Ingmar Bergman鈥檚 autobiography, The Magic Lantern, may not be the 鈥渂est鈥� 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 鈥� 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鈥檚 films to draw parallels between his life and art.
While it is said that Fanny and Alexander is Bergman鈥檚 most personal film, my margins were also crammed full of notes linking passages about Bergman鈥檚 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 Sj枚str枚m, 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 Bj枚rnstrand (though Bergman does include a chapter explaining that he does not wish to discuss any of his living friends 鈥� dead ones are a different matter).
I also found it interesting the parallels between Bergman (one of my favorite filmmakers) and one of my favorite writers, Marcel Proust. Both of their collected works are really very personal. Both this book and Proust's In Search of Lost Time show us the path from boyhood to the realization of the artist鈥檚 true potential (filmmaking/stage direction and writing, respectively).
The title of Bergman鈥檚 book is The Magic Lantern, which is a very familiar object to readers of Swann鈥檚 Way. The narrative begins with Bergman鈥檚 grandmother feeding him sponge cake soaked in water. Though this plays no role in Bergman鈥檚 involuntary memory later on, it does call to mind the narrator in Proust鈥檚 work eating a madeleine soaked in a spoonful of tea. Also, Bergman, like the narrator in 脌 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 鈥� 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鈥檓 a bit odd like that.
What I found most fascinating is that nowhere in the text does Bergman give any indication of having read 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鈥檚 films and to Marie Nyrer枚d鈥檚 documentary Bergman Island. Originally Bergman Island was a three-part documentary that dealt with three different aspects of the famous director鈥檚 life: his filmmaking, his life on the island of F氓r枚 and his career in the theatre. The last aspect was included at Bergman鈥檚 insistence, as he was proudest of his theatrical career, something that really shines through in this text. Of course, to many 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 Nyrer枚d). This book contains a much deeper look into that part of Bergman鈥檚 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鈥檚 sense of self and self-worth.
As far as memoirs go this is one of the best of the last 50 years, 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鈥檚 work, lovers of cinema or even for any with a passion for good books, as I don鈥檛 think one need be a Bergman fan or even be familiar with his work in order to appreciate the merits of the book itself.
While it is said that Fanny and Alexander is Bergman鈥檚 most personal film, my margins were also crammed full of notes linking passages about Bergman鈥檚 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 Sj枚str枚m, 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 Bj枚rnstrand (though Bergman does include a chapter explaining that he does not wish to discuss any of his living friends 鈥� dead ones are a different matter).
I also found it interesting the parallels between Bergman (one of my favorite filmmakers) and one of my favorite writers, Marcel Proust. Both of their collected works are really very personal. Both this book and Proust's In Search of Lost Time show us the path from boyhood to the realization of the artist鈥檚 true potential (filmmaking/stage direction and writing, respectively).
The title of Bergman鈥檚 book is The Magic Lantern, which is a very familiar object to readers of Swann鈥檚 Way. The narrative begins with Bergman鈥檚 grandmother feeding him sponge cake soaked in water. Though this plays no role in Bergman鈥檚 involuntary memory later on, it does call to mind the narrator in Proust鈥檚 work eating a madeleine soaked in a spoonful of tea. Also, Bergman, like the narrator in 脌 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 鈥� 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鈥檓 a bit odd like that.
What I found most fascinating is that nowhere in the text does Bergman give any indication of having read 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鈥檚 films and to Marie Nyrer枚d鈥檚 documentary Bergman Island. Originally Bergman Island was a three-part documentary that dealt with three different aspects of the famous director鈥檚 life: his filmmaking, his life on the island of F氓r枚 and his career in the theatre. The last aspect was included at Bergman鈥檚 insistence, as he was proudest of his theatrical career, something that really shines through in this text. Of course, to many 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 Nyrer枚d). This book contains a much deeper look into that part of Bergman鈥檚 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鈥檚 sense of self and self-worth.
As far as memoirs go this is one of the best of the last 50 years, 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鈥檚 work, lovers of cinema or even for any with a passion for good books, as I don鈥檛 think one need be a Bergman fan or even be familiar with his work in order to appreciate the merits of the book itself.
July 23, 2012
賴賰匕丕 賷乇賵賶 賱賳丕 亘乇噩賲丕賳 丨賷丕鬲賴 睾賷乇 丕賱賲孬丕賱賷丞貙 賱丕 賷禺噩賱 兀賳 賷禺亘乇賳丕 鬲賲乇丿賴 賲賳匕 氐睾乇賴貙 鬲賵鬲乇賴 賵毓氐亘賷鬲賴 賵廿囟胤乇丕亘丕鬲賴 丕賱噩爻丿賷丞 丕賱賲爻鬲賲乇丞 賵乇睾亘丕鬲賴 賮賷 丕賱賯鬲賱 賵丕賱毓賳賮 賵丕賱禺賷丕賳丞貙 賰乇丕賴賷鬲賴 賱賵丕賱丿賴 賵毓賱丕賯鬲賴 丕賱賲囟胤乇亘丞 亘毓丕卅賱鬲賴貙 賵兀賮賱丕賲賴.
鬲賱丕丨馗 廿囟胤乇丕亘丕鬲賴 賵爻賵亍 禺購賱賯賴 賮賷賲丕 匕賰乇賴 賵賷鬲毓賱賯 亘丨賷丕鬲賴 丕賱卮禺氐賷丞貙 賱賰賳賴 賷鬲丨賵賱 廿賱賶 卮禺氐 乇丕卅毓 毓賳丿賲丕 賷鬲丨丿孬 毓賳 兀賮賱丕賲賴貙 毓賳 丕賱廿囟丕亍丞貙 毓賳 廿禺鬲賷丕乇賴 賱兀賲丕賰賳 丕賱鬲氐賵賷乇. 丕賱毓噩賷亘 兀賳 亘乇噩賲丕賳 賱賲 賷購孬賳賷 毓賱賶 兀賷 毓賲賱 賲賳 兀毓賲丕賱賴貙 丨鬲賶 丕賱噩賷丿 賲賳賴丕 "賲孬賱 氐乇禺丕鬲 賵賴賲爻丕鬲 兀賵 亘賷乇爻賵賳丕" 鬲噩丿賴 賷鬲丨丿孬 毓賳 丕賱氐毓賵亘丕鬲 丕賱鬲賷 賵丕噩賴鬲賴 兀孬賳丕亍 丕賱鬲氐賵賷乇貙 賵賲毓 丕賱賲賲孬賱賷賳 賵丕賱賲賳鬲噩賷賳 賵賲毓 鬲賵夭賷毓 亘毓囟 丕賱兀賮賱丕賲.. 賴賱 鬲鬲禺賷賱賵丕 兀賳 亘乇噩賲丕賳 賱賲 賷乇囟賶 鬲賯乇賷賸亘丕 毓賳 兀賷 毓賲賱 賲賳 兀毓賲丕賱賴!
亘乇噩賲丕賳 賷丨賲賱 亘丿丕禺賱賴 孬賵乇丞貙 賱丕 賷丐賲賳 亘丕賱賱賴 賱賰賳賴 賷丐賲賳 亘丕賱賲爻乇丨貙 亘賰丕賲賷乇丕 丕賱鬲氐賵賷乇貙 亘丕賱爻賷賳丕乇賷賵貙 亘丕賱兀卮亘丕丨貙 亘賵噩賴 賱賷賮 兀賵賱賲丕賳 丕賱爻丕丨乇.. 亘乇噩賲丕賳 丕賱匕賷 賷丐賲賳 亘丕賱丨賷丕丞 賵賷禺卮賶 丕賱賲賵鬲
"兀賰丕丿 賱丕 兀鬲毓乇賮 毓賱賶 賴匕丕 丕賱廿賳爻丕賳 丕賱匕賷 賰賳鬲賴 賯亘賱 兀乇亘毓賷賳 毓丕賲賸丕貙 賰丕賳鬲 賲丨賳鬲賷 毓賲賷賯丞 賵丌賱賷丞 丕賱賯賲毓 毓賳丿賷 鬲毓賲賱 亘卮賰賱 賮毓丕賱 噩丿賸丕貙 賵亘氐毓賵亘丞 亘丕賱睾丞 兀爻鬲胤賷毓 丕賱丌賳 丕爻鬲丨囟丕乇 氐賵乇 鬲賱賰 丕賱賲乇丨賱丞. 毓賳丿賲丕 賰賳鬲 兀卮毓乇 亘丕賱禺胤乇 賰賳鬲 兀毓囟 賲孬賱 賰賱亘 禺丕卅賮. 賱賲 兀孬賯 亘兀丨丿 賵賱賲 兀丨亘 兀丨丿賸丕 賵賱賲 兀卮鬲賯 廿賱賶 兀丨丿. 丕爻鬲丨賵匕 丕賱噩賳爻 毓賱賶賻賾 賮賰丕賳 賷丿賮毓賳賷 廿賱賶 禺賷丕賳丕鬲 丿丕卅賲丞 賵賰丕賳鬲 鬲毓匕亘賳賷 丕賱乇睾亘丞 賵丕賱禺賵賮 賵丕賱兀賱賲 賵丕賱廿丨爻丕爻 亘丕賱匕賳亘."
鬲賱丕丨馗 廿囟胤乇丕亘丕鬲賴 賵爻賵亍 禺購賱賯賴 賮賷賲丕 匕賰乇賴 賵賷鬲毓賱賯 亘丨賷丕鬲賴 丕賱卮禺氐賷丞貙 賱賰賳賴 賷鬲丨賵賱 廿賱賶 卮禺氐 乇丕卅毓 毓賳丿賲丕 賷鬲丨丿孬 毓賳 兀賮賱丕賲賴貙 毓賳 丕賱廿囟丕亍丞貙 毓賳 廿禺鬲賷丕乇賴 賱兀賲丕賰賳 丕賱鬲氐賵賷乇. 丕賱毓噩賷亘 兀賳 亘乇噩賲丕賳 賱賲 賷購孬賳賷 毓賱賶 兀賷 毓賲賱 賲賳 兀毓賲丕賱賴貙 丨鬲賶 丕賱噩賷丿 賲賳賴丕 "賲孬賱 氐乇禺丕鬲 賵賴賲爻丕鬲 兀賵 亘賷乇爻賵賳丕" 鬲噩丿賴 賷鬲丨丿孬 毓賳 丕賱氐毓賵亘丕鬲 丕賱鬲賷 賵丕噩賴鬲賴 兀孬賳丕亍 丕賱鬲氐賵賷乇貙 賵賲毓 丕賱賲賲孬賱賷賳 賵丕賱賲賳鬲噩賷賳 賵賲毓 鬲賵夭賷毓 亘毓囟 丕賱兀賮賱丕賲.. 賴賱 鬲鬲禺賷賱賵丕 兀賳 亘乇噩賲丕賳 賱賲 賷乇囟賶 鬲賯乇賷賸亘丕 毓賳 兀賷 毓賲賱 賲賳 兀毓賲丕賱賴!
亘乇噩賲丕賳 賷丨賲賱 亘丿丕禺賱賴 孬賵乇丞貙 賱丕 賷丐賲賳 亘丕賱賱賴 賱賰賳賴 賷丐賲賳 亘丕賱賲爻乇丨貙 亘賰丕賲賷乇丕 丕賱鬲氐賵賷乇貙 亘丕賱爻賷賳丕乇賷賵貙 亘丕賱兀卮亘丕丨貙 亘賵噩賴 賱賷賮 兀賵賱賲丕賳 丕賱爻丕丨乇.. 亘乇噩賲丕賳 丕賱匕賷 賷丐賲賳 亘丕賱丨賷丕丞 賵賷禺卮賶 丕賱賲賵鬲
"兀賰丕丿 賱丕 兀鬲毓乇賮 毓賱賶 賴匕丕 丕賱廿賳爻丕賳 丕賱匕賷 賰賳鬲賴 賯亘賱 兀乇亘毓賷賳 毓丕賲賸丕貙 賰丕賳鬲 賲丨賳鬲賷 毓賲賷賯丞 賵丌賱賷丞 丕賱賯賲毓 毓賳丿賷 鬲毓賲賱 亘卮賰賱 賮毓丕賱 噩丿賸丕貙 賵亘氐毓賵亘丞 亘丕賱睾丞 兀爻鬲胤賷毓 丕賱丌賳 丕爻鬲丨囟丕乇 氐賵乇 鬲賱賰 丕賱賲乇丨賱丞. 毓賳丿賲丕 賰賳鬲 兀卮毓乇 亘丕賱禺胤乇 賰賳鬲 兀毓囟 賲孬賱 賰賱亘 禺丕卅賮. 賱賲 兀孬賯 亘兀丨丿 賵賱賲 兀丨亘 兀丨丿賸丕 賵賱賲 兀卮鬲賯 廿賱賶 兀丨丿. 丕爻鬲丨賵匕 丕賱噩賳爻 毓賱賶賻賾 賮賰丕賳 賷丿賮毓賳賷 廿賱賶 禺賷丕賳丕鬲 丿丕卅賲丞 賵賰丕賳鬲 鬲毓匕亘賳賷 丕賱乇睾亘丞 賵丕賱禺賵賮 賵丕賱兀賱賲 賵丕賱廿丨爻丕爻 亘丕賱匕賳亘."
July 21, 2014
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.
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.
December 16, 2020
Bergman, herregud vad ska man s盲ga. Sk枚nt f枚r honom att han slapp vara med i v氓r moderna tid, metoo hade inte varit honom n氓dig.
Att l盲sa den h盲r boken 盲r att f枚rvandlas till psykolog p氓 symptomjakt.
Hans 鈥漝盲moner鈥�, aggressivitet, sexualitet, 氓ngest och s枚mnl枚shet - att det aldrig slog honom att det var hans etiska kompass som f枚rs枚kte larma om att han handlade fel. Han betedde sig som en skitst枚vel, milt sagt. Hans ego visste inga gr盲nser. Fr氓gan 盲r om han inte led av personlighetsst枚rning? Kanske var det d盲rf枚r film och teater lockade honom. D盲r 盲r distinktionen mellan verklighet och saga till氓ten, d盲r kunde han skapa en verklighet som han 枚nskade och fly sin egen. Han lj枚g konstant, var notoriskt otrogen, megalomanisk, refererade till sig sj盲lv som Bergman, han menade att Greta Garbo hade ful mun, han f枚rnekade inte bara gudstro utan tron p氓 godhet.
Han ville bli ih氓gkommen, hade inget att f枚rlora och ville f枚rst氓s v盲cka uppm盲rksamhet. Han tycktes vara immun mot utveckling eller s氓 var han en extremt late bloomer. I en 氓lder av 68 氓r anklagade han sin mor f枚r sin trasiga personlighet. Han fr氓gade (henne): 鈥滷ick vi masker ist盲llet f枚r ansikte, fick vi hysteri ist盲llet f枚r k盲nslor, fick vi skam och skuld ist盲llet f枚r 枚mhet och f枚rl氓telse?鈥�
Laterna magica handlar om Bergman sj盲lv, hans bromance med Strindberg, teater och kvinnor. D枚ttrarna n盲mns inte ens med namn. Man kan verkligen inte anklaga honom f枚r f枚rsk枚ning av n氓got, inte heller sig sj盲lv. Men med en s氓dan sjuk personlighet och skruvad sexualitet borde han sk盲mmas, att han inte gjorde det 盲r bekymmersamt och nog ytterligare ett symptom.
Han proklamerar att k盲rleken 盲r det viktigaste i livet, men tycktes tyv盲rr sakna f枚rm氓gan eller viljan att odla k盲rleken till andra och inte enkom till sig sj盲lv. Eftersom han misslyckades med allt annat antar jag att han satsade allt p氓 att lyckas inom sitt arbete.
Boken 盲r till viss del underh氓llande och njutbar att l盲sa trots sin brutalitet. Man f氓r ju hoppas och tro att inte allt 盲r sant. Jag f枚redrar bitarna fr氓n barndomen.
Fyra svaga 猸愶笍猸愶笍猸愶笍馃挮
Att l盲sa den h盲r boken 盲r att f枚rvandlas till psykolog p氓 symptomjakt.
Hans 鈥漝盲moner鈥�, aggressivitet, sexualitet, 氓ngest och s枚mnl枚shet - att det aldrig slog honom att det var hans etiska kompass som f枚rs枚kte larma om att han handlade fel. Han betedde sig som en skitst枚vel, milt sagt. Hans ego visste inga gr盲nser. Fr氓gan 盲r om han inte led av personlighetsst枚rning? Kanske var det d盲rf枚r film och teater lockade honom. D盲r 盲r distinktionen mellan verklighet och saga till氓ten, d盲r kunde han skapa en verklighet som han 枚nskade och fly sin egen. Han lj枚g konstant, var notoriskt otrogen, megalomanisk, refererade till sig sj盲lv som Bergman, han menade att Greta Garbo hade ful mun, han f枚rnekade inte bara gudstro utan tron p氓 godhet.
Han ville bli ih氓gkommen, hade inget att f枚rlora och ville f枚rst氓s v盲cka uppm盲rksamhet. Han tycktes vara immun mot utveckling eller s氓 var han en extremt late bloomer. I en 氓lder av 68 氓r anklagade han sin mor f枚r sin trasiga personlighet. Han fr氓gade (henne): 鈥滷ick vi masker ist盲llet f枚r ansikte, fick vi hysteri ist盲llet f枚r k盲nslor, fick vi skam och skuld ist盲llet f枚r 枚mhet och f枚rl氓telse?鈥�
Laterna magica handlar om Bergman sj盲lv, hans bromance med Strindberg, teater och kvinnor. D枚ttrarna n盲mns inte ens med namn. Man kan verkligen inte anklaga honom f枚r f枚rsk枚ning av n氓got, inte heller sig sj盲lv. Men med en s氓dan sjuk personlighet och skruvad sexualitet borde han sk盲mmas, att han inte gjorde det 盲r bekymmersamt och nog ytterligare ett symptom.
Han proklamerar att k盲rleken 盲r det viktigaste i livet, men tycktes tyv盲rr sakna f枚rm氓gan eller viljan att odla k盲rleken till andra och inte enkom till sig sj盲lv. Eftersom han misslyckades med allt annat antar jag att han satsade allt p氓 att lyckas inom sitt arbete.
Boken 盲r till viss del underh氓llande och njutbar att l盲sa trots sin brutalitet. Man f氓r ju hoppas och tro att inte allt 盲r sant. Jag f枚redrar bitarna fr氓n barndomen.
Fyra svaga 猸愶笍猸愶笍猸愶笍馃挮
April 4, 2019
笑械 锌芯写芯褉芯卸 卸懈褌褌褟屑 谐械薪褨褟. 效邪褋芯屑 蟹邪薪邪写褌芯 胁褨写胁械褉褌邪 褨 褕芯泻褍褞褔邪, 屑褨褋褑褟屑懈 薪褨卸薪芯 褖懈褉邪 褨 锌芯-写懈褌褟褔芯屑褍 谢褞斜谢褟褔邪. 笑褟 锌芯写芯褉芯卸 蟹写邪褦褌褜褋褟 屑械薪褨, 褔懈褌邪褔械胁褨, 褔械褋薪芯褞. 袩械褉褕 蟹邪 胁褋械 锌械褉械写 褋芯斜芯褞 蟹 邪胁褌芯褉褋褜泻芯谐芯 锌芯谐谢褟写褍. 携 谢褞斜谢褞 褔械褋薪褨褋褌褜, 褌芯屑褍 薪械 锌芯谢褞斜懈褌懈 泻薪懈谐褍 薪械 屑芯谐谢邪.
袩械褉械写 褔懈褌邪薪薪褟屑 褑褨褦褩 邪胁褌芯斜褨芯谐褉邪褎褨褩 褌邪 褨薪褕懈褏 褉芯屑邪薪褨胁 袘械褉覒屑邪薪邪 薪邪锌芯谢械谐谢懈胁芯 褉邪写卸褍 锌芯写懈胁懈褌懈褋褜 泻褨谢褜泻邪 泄芯谐芯 褋褌褉褨褔芯泻 褨 谢懈褕械 锌褨褋谢褟 褌芯谐芯 屑芯卸薪邪 胁胁邪卸邪褌懈 褋械斜械 谐芯褌芯胁懈屑 写芯 胁褨写胁械褉褌芯褋褌褨 褌胁芯褉褑褟 袉薪覒屑邪褉邪 褌邪 泄芯谐芯 Laterna Magica.
袩械褉械写 褔懈褌邪薪薪褟屑 褑褨褦褩 邪胁褌芯斜褨芯谐褉邪褎褨褩 褌邪 褨薪褕懈褏 褉芯屑邪薪褨胁 袘械褉覒屑邪薪邪 薪邪锌芯谢械谐谢懈胁芯 褉邪写卸褍 锌芯写懈胁懈褌懈褋褜 泻褨谢褜泻邪 泄芯谐芯 褋褌褉褨褔芯泻 褨 谢懈褕械 锌褨褋谢褟 褌芯谐芯 屑芯卸薪邪 胁胁邪卸邪褌懈 褋械斜械 谐芯褌芯胁懈屑 写芯 胁褨写胁械褉褌芯褋褌褨 褌胁芯褉褑褟 袉薪覒屑邪褉邪 褌邪 泄芯谐芯 Laterna Magica.
April 10, 2017
兀賷 卮賷胤丕賳 賰丕賳 賷爻賰賳 賲氐亘丕丨賰 丕賱爻丨乇賷 責
廿賳睾賲锟斤拷乇 亘賷乇睾賲丕賳 丕賱毓亘賯乇賷 丕賱爻丕丨乇 賵丕賱賲毓賯丿
兀賳 鬲卮丕賴丿 賮賷賱賲丕 賱廿賳睾賲丕乇 賷毓賳賷 兀賳 鬲爻亘丨 賮賷 賱丕 賲毓賯賵賱賷鬲賰貙
鬲賳丕賯囟賰貙噩賳賵賳賰.兀賳 鬲卮丕賴丿 賮賷賱賲丕 賱廿賳睾賲丕乇 賷毓賳賷 丕賱睾賵氐 賮賷 兀毓賲賯 賳賯丕胤 丕賱賳賮賵爻 丕賱亘卮乇賷丞 鬲毓賯賷丿丕 .
兀賮賱丕賲 賰囟賵亍 丕賱卮鬲丕亍貙 卮睾賮 丌賳丕貙亘賷乇爻賵賳丕貙爻丕毓丞 丕賱匕卅亘貙丕賱鬲賵鬲 丕賱亘乇賷 貙 丕賱乇亘賷毓 丕賱亘賰乇貙 賲卮丕賴丿 賲賳 丨賷丕丞 夭賵噩賷丞 賵睾賷乇賴丕 丕賱賰孬賷乇.
賮賷賱賲 賲孬賱 爻賵賳丕鬲丕 丕賱禺乇賷賮 賲賳 兀賰孬乇 丕賱兀賮賱丕賲 囟睾胤丕 毓賱賶 丕賱兀毓氐丕亘 貙 賲賮夭毓 賵丨賯賷賯賷 賱丿乇噩丞 賲乇毓亘丞 .
賴匕賴 丕賱兀賮賱丕賲 丕賱鬲賷 卮賰賱鬲 噩夭亍 賰亘賷乇 賲賳 卮睾賮賷 亘賴匕丕 丕賱賲禺乇噩 丕賱毓馗賷賲 賵亘賮賳 丕賱爻賷賳賲丕亘卮賰賱 毓丕賲 貙 賴賵 賲禺乇噩 賵賰丕鬲亘 兀賷囟丕 賷毓賱賲賰 賰賷賮 鬲卮丕賴丿 賮賷賱賲丕 爻賷賳賲丕卅賷丕 丿賵賳 卮乇賵丨丕鬲 賵賱賰賳 亘爻賱丕爻丞 亘爻賷胤丞 丿賵賳 廿禺賱丕賱.賲毓 丕賱兀禺匕 亘丕賱廿毓鬲亘丕乇 兀賳賴 賱丕 賷賯丿賲 丨賱賵賱 賲胤賱賯丕 .
賮賷 爻賷乇鬲賴 丕賱匕丕鬲賷丞 賴賳丕 鬲爻鬲胤賷毓 兀賳 鬲鬲毓乇賮 毓賱賷賴 毓賳 賯乇亘
爻鬲賮賴賲 賲卮丕賴丿 賲賳 亘毓囟 兀賮賱丕賲賴 乇亘賲丕 賱賲 鬲賮賴賲賴丕 噩賷丿丕 賵賯鬲 丕賱賲卮丕賴丿丞 丕賱兀賵賱賶
賷禺亘乇賰 賰賷賮 丨氐賱 毓賱賶 賳賴丕賷丞 賮賷賱賲 賰丕賳 賷丐乇賯賴 毓丿賲 鬲賵氐賱賴 賱賳賴丕賷丞 賱賴 乇睾賲 噩丕賴夭賷丞 賰賱 卮賷亍 賮賷 丕賱賮賷賱賲 毓丿丕 丕賱賳賴丕賷丞 .
賴匕丕 丕賱賮賷賱賲 賴賵 囟賵亍 丕賱卮鬲丕亍 _兀丨丿 兀賮賱丕賲賴 丕賱賲賮囟賱丞 毓賳丿賷_
賵賯氐丞 丨氐賵賱賴 賱賳賴丕賷丞 賱賱賮賷賱賲 賯氐丞 乇丕卅毓丞 賵爻鬲毓乇賮 賰賲 賴賵 毓亘賯乇賷 毓賳丿 賯乇丕亍鬲賰 賱賴丕
亘賷乇睾賲丕賳 賲賴賲賵賲 亘鬲賮丕氐賷賱 丕賱鬲賮丕氐賷賱 賮賷 兀賮賱丕賲賴 .賮賷賱賲 賰爻賵賳丕鬲丕 丕賱禺乇賷賮 賲孬賱丕 .賴匕丕 丕賱賮賷賱賲 丕賱賲乇毓亘 貙 廿賳睾乇賷丿 亘賷乇睾賲丕賳 賰丕賳鬲 鬲賯賵賲 賮賷賴 亘丿賵乇 毓丕夭賮丞 亘賷丕賳賵 .賳噩丿 賴賳丕 兀賳 亘賷乇睾賲丕賳 賷乇賷丿賴丕 賮賷 賲卮賴丿 賲賳 丕賱賮賷賱賲 兀賳
鬲賳丕賲 毓賱賶 馗賴乇賴丕毓賱賶 兀乇囟賷丞 禺卮亘賷丞 賱兀賳賴 賷賱丕丨馗 兀賳 賲毓馗賲 毓丕夭賮賷 丕賱亘賷丕賳賵 馗賴賵乇賴賲 賲丨賳賷丞 賵賷賮毓賱賵賳 賴匕丕 丕賱胤賯爻 丿丕卅賲丕 賱賲爻丕毓丿鬲賴賲 亘丨賱 賴匕賴 丕賱賲卮賰賱丞 .
鬲賮氐賷賱丞 氐睾賷乇丞 賯丿 賱丕 鬲賴賲 丕賱賲卮丕賴丿 兀氐賱丕 賵賱丕 賷賱鬲賮鬲 賱賴丕 貙 丨鬲賶 兀賳 廿賳睾乇賷丿 亘賳賮爻賴丕 爻禺乇鬲 賲賳賴丨賷賳 胤賱亘 賲賳賴丕 匕賱賰 .
賱賴匕丕 賴賵 廿賳睾賲丕乇 亘賷乇睾賲丕賳.
亘賷乇噩賲丕賳 丨賰賶 賴賳丕 兀賷囟丕 毓丿賲 廿賷賲丕賳賴 亘賵噩賵丿 丕賱賱賴 .乇睾賲 兀賳賰 鬲爻鬲胤賷毓 亘爻賴賵賱丞 賲毓乇賮丞 賴匕丕 賲賳 兀賮賱丕賲賴.
賱賰賳 賴賳丕 賷兀氐賱 亘卮賰賱 賲丕 賱賴匕丕 丕賱廿賳賰丕乇 賱賵噩賵丿 丕賱賱賴 .賮賯丿 賰丕賳 兀亘賵賴 賰丕賴賳丕 賮賷 賰賳賷爻丞 貙 乇噩賱丕 氐丕乇賲丕 賵賯丕爻賷丕 賱丿乇噩丞 賰亘賷乇丞 噩丿丕.賰丕賳 廿賳睾賲丕乇 賷賰乇賴賴 亘卮丿丞 .
鬲丨丿孬 毓賳 氐丿丕賯丕鬲賴 賵毓賱丕賯丕鬲賴 丕賱賲鬲毓丿丿丞 亘丕賱賳爻丕亍 賵禺賷丕賳丕鬲賴 丕賱賲鬲賰乇乇丞 賱夭賵噩丕鬲賴 .
鬲夭賵噩 賰孬賷乇丕 _爻鬲 賲乇丕鬲 鬲賯乇賷亘丕_ 兀睾賱亘賴丕 賰丕賳鬲 禺賷丕賳丕鬲 賵賰丕賳 賷毓鬲乇賮 賱夭賵噩鬲賴 亘賴丕 孬賲 賷胤賱賯賴丕 .
賲丕 兀孬丕乇賳賷 兀賳賴 丨賷賳賲丕 賰丕賳 賷鬲丨丿孬 毓賳 丨賷丕鬲賴 賮賷 賮鬲乇丞 夭賵丕噩賴 賲賳 廿賳睾乇賷丿 亘賷乇睾賲丕賳 賱賲 賷匕賰乇 兀賷 卮賷亍 毓賳 亘丿丕賷丞 毓賱丕賯鬲賴 亘賴丕 賵丨鬲賶 毓賳 胤亘賷毓丞 丕賱毓賱丕賯丞 賰賲丕 賮毓賱 賮賷 亘丕賯賷 丕賱夭賷噩丕鬲.賵賰匕賱賰 賮毓賱 賲毓 賱賷賮 兀賵賱賲丕賳 .
賱賲 賷鬲丨丿孬 毓賳 丕賱丨亘 賰孬賷乇丕 爻賵丕亍 丨賷賳 鬲丨丿孬 毓賳 毓賱丕賯丕鬲賴 丕賱賲鬲毓丿丿丞 _賯丕賱 兀賳 丕賱噩賳爻 賴賵 丕賱匕賷 賰丕賳 賷丨乇賰賴_ 兀賵 毓賳 兀氐丿賯丕卅賴 .
賷賲賰賳 鬲賮爻賷乇 賴匕丕 賲賳 禺賱丕賱 噩賲賱丞 賯丕賱賴丕 丨賷賳賲丕 賰丕賳 賷鬲丨丿孬 毓賳 胤賮賵賱鬲賴 : 賰丕賳 兀亘賷 賷匕賰乇 丕賱丨亘 賮賯胤 兀孬賳丕亍 毓馗丕鬲賴 賮賷 丕賱賰賳賷爻丞貙 丨亘 丕賱賱賴 亘丕賱胤亘毓貙 賵毓賳丿 丕賱毓賵丿丞 賱賱亘賷鬲 賱丕 賳噩丿 賱賴匕賴 丕賱賰賱賲丞 兀孬乇 .
賷賯賵賱 :賱賯丿 兀禺匕賳丕 兀賯賳毓丞 毓賵囟丕 毓賳 丕賱賵噩賵賴 貙 賵賴賷爻鬲乇賷丕 毓賵囟丕 毓賳 丕賱賲卮丕毓乇貙賵丕賱禺噩賱 賵丕賱丕丨爻丕爻 亘丕賱匕賳亘 毓賵囟丕 毓賳 丕賱丨亘 賵丕賱鬲爻丕賲丨..
賷丨賰賷 毓賳 賮卮賱賴 丕賱廿丿丕乇賷 毓賳丿賲丕 兀氐亘丨 賲丿賷乇丕 賱賱賲爻乇丨 丕賱賵胤賳賷 .毓賳 賯囟賷鬲賴 丕賱卮賴賷乇丞 賲毓 丕賱囟乇丕卅亘.賵毓賳 廿禺賮丕賯丕鬲賴 賮賷 丕賱賲爻乇丨 毓卮賯賴 丕賱兀賵賱.毓賳 爻賳賵丕鬲 賲賳賮丕賴 丕賱廿禺鬲賷丕乇賷 賮賷 兀賱賲丕賳賷丕 .賵毓賳 賰乇賴賴 丕賱卮丿賷丿 賱賱氐丨丕賮丞 賵廿賳夭毓丕噩賴 賲賳 丕賱氐丨賮賷賷賳 ..賵毓賳 丨賱賲賴 亘廿賳鬲丕噩 賮賷賱賲 亘賲噩丕賲賷毓 賴丕卅賱丞 賲賳 丕賱賳丕爻 賲毓 賲賵爻賷賯賶 賵賲卮丕賴丿 賲賱賵賳丞 .賵賲賳 賴賳丕 賳爻鬲胤賷毓 賲毓乇賮丞 兀賴賲賷丞 丿賵乇 丕賱賲賵爻賷賯賷 毓賳丿 亘賷乇睾賲丕賳 賮賯丿 賰丕賳 賷乇賶 兀賳 兀毓賲丕賱賴 鬲賳卮兀 兀氐賱丕 賲賳 丕賱賲賵爻賷賯賶 賵賴賵 賱丕 賷爻鬲胤賷毓 廿賱丕 兀賳 賷賲卮賷 賮賷 丕賱廿鬲噩丕賴 丕賱匕賷 賷丐丿賷 廿賱賷賴丕.
賲賳 兀氐丿賯 丕賱爻賷乇 丕賱鬲賷 賯乇兀鬲賴丕 貙 氐丕丿賲丞 貙 氐乇賷丨丞 賵丨賯賷賯賷丞 .亘毓賷丿丕 毓賳 丕賱禺噩賱 賵丕賱夭賷賮 賵丕賱丨賷丕丿賷丞 丕賱賲夭毓噩丞
鬲噩乇亘丞 賲賲鬲毓丞 亘賯丿乇 丕賱賲鬲毓丞 丕賱鬲賷 兀禺匕鬲賴丕 賲賳 賲卮丕賴丿丞 兀賮賱丕賲 賴匕丕 丕賱毓亘賯乇賷 丕賱爻賵賷丿賷 丕賱乇丕卅毓 .
廿賳睾賲锟斤拷乇 亘賷乇睾賲丕賳 丕賱毓亘賯乇賷 丕賱爻丕丨乇 賵丕賱賲毓賯丿
兀賳 鬲卮丕賴丿 賮賷賱賲丕 賱廿賳睾賲丕乇 賷毓賳賷 兀賳 鬲爻亘丨 賮賷 賱丕 賲毓賯賵賱賷鬲賰貙
鬲賳丕賯囟賰貙噩賳賵賳賰.兀賳 鬲卮丕賴丿 賮賷賱賲丕 賱廿賳睾賲丕乇 賷毓賳賷 丕賱睾賵氐 賮賷 兀毓賲賯 賳賯丕胤 丕賱賳賮賵爻 丕賱亘卮乇賷丞 鬲毓賯賷丿丕 .
兀賮賱丕賲 賰囟賵亍 丕賱卮鬲丕亍貙 卮睾賮 丌賳丕貙亘賷乇爻賵賳丕貙爻丕毓丞 丕賱匕卅亘貙丕賱鬲賵鬲 丕賱亘乇賷 貙 丕賱乇亘賷毓 丕賱亘賰乇貙 賲卮丕賴丿 賲賳 丨賷丕丞 夭賵噩賷丞 賵睾賷乇賴丕 丕賱賰孬賷乇.
賮賷賱賲 賲孬賱 爻賵賳丕鬲丕 丕賱禺乇賷賮 賲賳 兀賰孬乇 丕賱兀賮賱丕賲 囟睾胤丕 毓賱賶 丕賱兀毓氐丕亘 貙 賲賮夭毓 賵丨賯賷賯賷 賱丿乇噩丞 賲乇毓亘丞 .
賴匕賴 丕賱兀賮賱丕賲 丕賱鬲賷 卮賰賱鬲 噩夭亍 賰亘賷乇 賲賳 卮睾賮賷 亘賴匕丕 丕賱賲禺乇噩 丕賱毓馗賷賲 賵亘賮賳 丕賱爻賷賳賲丕亘卮賰賱 毓丕賲 貙 賴賵 賲禺乇噩 賵賰丕鬲亘 兀賷囟丕 賷毓賱賲賰 賰賷賮 鬲卮丕賴丿 賮賷賱賲丕 爻賷賳賲丕卅賷丕 丿賵賳 卮乇賵丨丕鬲 賵賱賰賳 亘爻賱丕爻丞 亘爻賷胤丞 丿賵賳 廿禺賱丕賱.賲毓 丕賱兀禺匕 亘丕賱廿毓鬲亘丕乇 兀賳賴 賱丕 賷賯丿賲 丨賱賵賱 賲胤賱賯丕 .
賮賷 爻賷乇鬲賴 丕賱匕丕鬲賷丞 賴賳丕 鬲爻鬲胤賷毓 兀賳 鬲鬲毓乇賮 毓賱賷賴 毓賳 賯乇亘
爻鬲賮賴賲 賲卮丕賴丿 賲賳 亘毓囟 兀賮賱丕賲賴 乇亘賲丕 賱賲 鬲賮賴賲賴丕 噩賷丿丕 賵賯鬲 丕賱賲卮丕賴丿丞 丕賱兀賵賱賶
賷禺亘乇賰 賰賷賮 丨氐賱 毓賱賶 賳賴丕賷丞 賮賷賱賲 賰丕賳 賷丐乇賯賴 毓丿賲 鬲賵氐賱賴 賱賳賴丕賷丞 賱賴 乇睾賲 噩丕賴夭賷丞 賰賱 卮賷亍 賮賷 丕賱賮賷賱賲 毓丿丕 丕賱賳賴丕賷丞 .
賴匕丕 丕賱賮賷賱賲 賴賵 囟賵亍 丕賱卮鬲丕亍 _兀丨丿 兀賮賱丕賲賴 丕賱賲賮囟賱丞 毓賳丿賷_
賵賯氐丞 丨氐賵賱賴 賱賳賴丕賷丞 賱賱賮賷賱賲 賯氐丞 乇丕卅毓丞 賵爻鬲毓乇賮 賰賲 賴賵 毓亘賯乇賷 毓賳丿 賯乇丕亍鬲賰 賱賴丕
亘賷乇睾賲丕賳 賲賴賲賵賲 亘鬲賮丕氐賷賱 丕賱鬲賮丕氐賷賱 賮賷 兀賮賱丕賲賴 .賮賷賱賲 賰爻賵賳丕鬲丕 丕賱禺乇賷賮 賲孬賱丕 .賴匕丕 丕賱賮賷賱賲 丕賱賲乇毓亘 貙 廿賳睾乇賷丿 亘賷乇睾賲丕賳 賰丕賳鬲 鬲賯賵賲 賮賷賴 亘丿賵乇 毓丕夭賮丞 亘賷丕賳賵 .賳噩丿 賴賳丕 兀賳 亘賷乇睾賲丕賳 賷乇賷丿賴丕 賮賷 賲卮賴丿 賲賳 丕賱賮賷賱賲 兀賳
鬲賳丕賲 毓賱賶 馗賴乇賴丕毓賱賶 兀乇囟賷丞 禺卮亘賷丞 賱兀賳賴 賷賱丕丨馗 兀賳 賲毓馗賲 毓丕夭賮賷 丕賱亘賷丕賳賵 馗賴賵乇賴賲 賲丨賳賷丞 賵賷賮毓賱賵賳 賴匕丕 丕賱胤賯爻 丿丕卅賲丕 賱賲爻丕毓丿鬲賴賲 亘丨賱 賴匕賴 丕賱賲卮賰賱丞 .
鬲賮氐賷賱丞 氐睾賷乇丞 賯丿 賱丕 鬲賴賲 丕賱賲卮丕賴丿 兀氐賱丕 賵賱丕 賷賱鬲賮鬲 賱賴丕 貙 丨鬲賶 兀賳 廿賳睾乇賷丿 亘賳賮爻賴丕 爻禺乇鬲 賲賳賴丨賷賳 胤賱亘 賲賳賴丕 匕賱賰 .
賱賴匕丕 賴賵 廿賳睾賲丕乇 亘賷乇睾賲丕賳.
亘賷乇噩賲丕賳 丨賰賶 賴賳丕 兀賷囟丕 毓丿賲 廿賷賲丕賳賴 亘賵噩賵丿 丕賱賱賴 .乇睾賲 兀賳賰 鬲爻鬲胤賷毓 亘爻賴賵賱丞 賲毓乇賮丞 賴匕丕 賲賳 兀賮賱丕賲賴.
賱賰賳 賴賳丕 賷兀氐賱 亘卮賰賱 賲丕 賱賴匕丕 丕賱廿賳賰丕乇 賱賵噩賵丿 丕賱賱賴 .賮賯丿 賰丕賳 兀亘賵賴 賰丕賴賳丕 賮賷 賰賳賷爻丞 貙 乇噩賱丕 氐丕乇賲丕 賵賯丕爻賷丕 賱丿乇噩丞 賰亘賷乇丞 噩丿丕.賰丕賳 廿賳睾賲丕乇 賷賰乇賴賴 亘卮丿丞 .
鬲丨丿孬 毓賳 氐丿丕賯丕鬲賴 賵毓賱丕賯丕鬲賴 丕賱賲鬲毓丿丿丞 亘丕賱賳爻丕亍 賵禺賷丕賳丕鬲賴 丕賱賲鬲賰乇乇丞 賱夭賵噩丕鬲賴 .
鬲夭賵噩 賰孬賷乇丕 _爻鬲 賲乇丕鬲 鬲賯乇賷亘丕_ 兀睾賱亘賴丕 賰丕賳鬲 禺賷丕賳丕鬲 賵賰丕賳 賷毓鬲乇賮 賱夭賵噩鬲賴 亘賴丕 孬賲 賷胤賱賯賴丕 .
賲丕 兀孬丕乇賳賷 兀賳賴 丨賷賳賲丕 賰丕賳 賷鬲丨丿孬 毓賳 丨賷丕鬲賴 賮賷 賮鬲乇丞 夭賵丕噩賴 賲賳 廿賳睾乇賷丿 亘賷乇睾賲丕賳 賱賲 賷匕賰乇 兀賷 卮賷亍 毓賳 亘丿丕賷丞 毓賱丕賯鬲賴 亘賴丕 賵丨鬲賶 毓賳 胤亘賷毓丞 丕賱毓賱丕賯丞 賰賲丕 賮毓賱 賮賷 亘丕賯賷 丕賱夭賷噩丕鬲.賵賰匕賱賰 賮毓賱 賲毓 賱賷賮 兀賵賱賲丕賳 .
賱賲 賷鬲丨丿孬 毓賳 丕賱丨亘 賰孬賷乇丕 爻賵丕亍 丨賷賳 鬲丨丿孬 毓賳 毓賱丕賯丕鬲賴 丕賱賲鬲毓丿丿丞 _賯丕賱 兀賳 丕賱噩賳爻 賴賵 丕賱匕賷 賰丕賳 賷丨乇賰賴_ 兀賵 毓賳 兀氐丿賯丕卅賴 .
賷賲賰賳 鬲賮爻賷乇 賴匕丕 賲賳 禺賱丕賱 噩賲賱丞 賯丕賱賴丕 丨賷賳賲丕 賰丕賳 賷鬲丨丿孬 毓賳 胤賮賵賱鬲賴 : 賰丕賳 兀亘賷 賷匕賰乇 丕賱丨亘 賮賯胤 兀孬賳丕亍 毓馗丕鬲賴 賮賷 丕賱賰賳賷爻丞貙 丨亘 丕賱賱賴 亘丕賱胤亘毓貙 賵毓賳丿 丕賱毓賵丿丞 賱賱亘賷鬲 賱丕 賳噩丿 賱賴匕賴 丕賱賰賱賲丞 兀孬乇 .
賷賯賵賱 :賱賯丿 兀禺匕賳丕 兀賯賳毓丞 毓賵囟丕 毓賳 丕賱賵噩賵賴 貙 賵賴賷爻鬲乇賷丕 毓賵囟丕 毓賳 丕賱賲卮丕毓乇貙賵丕賱禺噩賱 賵丕賱丕丨爻丕爻 亘丕賱匕賳亘 毓賵囟丕 毓賳 丕賱丨亘 賵丕賱鬲爻丕賲丨..
賷丨賰賷 毓賳 賮卮賱賴 丕賱廿丿丕乇賷 毓賳丿賲丕 兀氐亘丨 賲丿賷乇丕 賱賱賲爻乇丨 丕賱賵胤賳賷 .毓賳 賯囟賷鬲賴 丕賱卮賴賷乇丞 賲毓 丕賱囟乇丕卅亘.賵毓賳 廿禺賮丕賯丕鬲賴 賮賷 丕賱賲爻乇丨 毓卮賯賴 丕賱兀賵賱.毓賳 爻賳賵丕鬲 賲賳賮丕賴 丕賱廿禺鬲賷丕乇賷 賮賷 兀賱賲丕賳賷丕 .賵毓賳 賰乇賴賴 丕賱卮丿賷丿 賱賱氐丨丕賮丞 賵廿賳夭毓丕噩賴 賲賳 丕賱氐丨賮賷賷賳 ..賵毓賳 丨賱賲賴 亘廿賳鬲丕噩 賮賷賱賲 亘賲噩丕賲賷毓 賴丕卅賱丞 賲賳 丕賱賳丕爻 賲毓 賲賵爻賷賯賶 賵賲卮丕賴丿 賲賱賵賳丞 .賵賲賳 賴賳丕 賳爻鬲胤賷毓 賲毓乇賮丞 兀賴賲賷丞 丿賵乇 丕賱賲賵爻賷賯賷 毓賳丿 亘賷乇睾賲丕賳 賮賯丿 賰丕賳 賷乇賶 兀賳 兀毓賲丕賱賴 鬲賳卮兀 兀氐賱丕 賲賳 丕賱賲賵爻賷賯賶 賵賴賵 賱丕 賷爻鬲胤賷毓 廿賱丕 兀賳 賷賲卮賷 賮賷 丕賱廿鬲噩丕賴 丕賱匕賷 賷丐丿賷 廿賱賷賴丕.
賲賳 兀氐丿賯 丕賱爻賷乇 丕賱鬲賷 賯乇兀鬲賴丕 貙 氐丕丿賲丞 貙 氐乇賷丨丞 賵丨賯賷賯賷丞 .亘毓賷丿丕 毓賳 丕賱禺噩賱 賵丕賱夭賷賮 賵丕賱丨賷丕丿賷丞 丕賱賲夭毓噩丞
鬲噩乇亘丞 賲賲鬲毓丞 亘賯丿乇 丕賱賲鬲毓丞 丕賱鬲賷 兀禺匕鬲賴丕 賲賳 賲卮丕賴丿丞 兀賮賱丕賲 賴匕丕 丕賱毓亘賯乇賷 丕賱爻賵賷丿賷 丕賱乇丕卅毓 .
December 23, 2018
Em honra do centen谩rio de Ingmar Bergman
Quem diria que um dos maiores cineastas de todos os tempos estaria totalmente rendido ao teatro em sua autobiografia? Sua vida foi o teatro, 茅 nele que reside as maiores descri莽玫es t茅cnicas e sentimentais sobre os of铆cios que exercia, gosto de como Bergman mescla essa labuta di谩ria com r谩pidos lampejos do cinema e a forma como estrutura o livro entre cap铆tulos que narram a inf芒ncia alternadamente com a fase adulta, na medida que atingem um ponto comum ao final.
Ali谩s, j谩 estava completamente inquieta e indignada que Bergman n茫o havia citado o Gunnar Bj枚rnstrand uma 煤nica vez no livro todo, o ator com quem mais trabalhara e pelo qual sou apaixonad铆ssima, at茅 ler o cap铆tulo que ele disse que n茫o falaria dos amigos nesse livro e fiquei mais aliviada.
Um livro relevante para conhecer a intimidade que Bergman nos deixa ver, nem com tantos detalhes, mas com detalhes suficientes para delinearmos uma persona que foi humana e errou muito, mas que nos deixou um legado em pel铆cula maior do que si.
Quem diria que um dos maiores cineastas de todos os tempos estaria totalmente rendido ao teatro em sua autobiografia? Sua vida foi o teatro, 茅 nele que reside as maiores descri莽玫es t茅cnicas e sentimentais sobre os of铆cios que exercia, gosto de como Bergman mescla essa labuta di谩ria com r谩pidos lampejos do cinema e a forma como estrutura o livro entre cap铆tulos que narram a inf芒ncia alternadamente com a fase adulta, na medida que atingem um ponto comum ao final.
Ali谩s, j谩 estava completamente inquieta e indignada que Bergman n茫o havia citado o Gunnar Bj枚rnstrand uma 煤nica vez no livro todo, o ator com quem mais trabalhara e pelo qual sou apaixonad铆ssima, at茅 ler o cap铆tulo que ele disse que n茫o falaria dos amigos nesse livro e fiquei mais aliviada.
Um livro relevante para conhecer a intimidade que Bergman nos deixa ver, nem com tantos detalhes, mas com detalhes suficientes para delinearmos uma persona que foi humana e errou muito, mas que nos deixou um legado em pel铆cula maior do que si.
September 14, 2024
I respect Bergman as a filmmaker, and all of his films have left me in awe even after repeated viewings, but this ain't it.
October 23, 2023
兀噩賲賱 賲丕 賮賷 丕賱爻賷乇賴 丕賱匕丕鬲賷賴 賴賵 丕賱氐丿賯 賵廿毓丕丿丞 丕賱賳馗乇 賮賷 賲賵丕賯賮 賵鬲氐乇賮丕鬲 睾亘賷賴貙 賲丐賱賲賴 (賱賱卮禺氐 賳賮爻賴 丕賵 賱賱丌禺乇)貙 賰丕乇孬賷賴貙 賲丐孬乇賴貙 兀賷丕賸 賰丕賳 賵賲卮 毓卮丕賳 賷乇噩毓 賷氐賱丨貙 -丕賱賲賵囟賵毓 丕賳鬲賴賶-貙 賱兀 賲噩乇丿 爻乇丿 賵廿賳氐丕賮 賱毓馗丕賲 丕賱賲賵鬲賶 賵賱禺卮亘 賲賴丿賲 賵兀乇賵丕丨 賴丕卅賲賴 丕賵 丨鬲賶 賲噩乇丿 丕賱亘賵丨貙 丕賱爻賷乇賴 丕賱匕丕鬲賷賴 賴賷 賮乇氐賴 兀禺賷乇賴 賱賱爻乇丿 丕賱睾賷乇 賲賳丨丕夭 賱丕 賱賳賮爻賴 賵賱丕 賱賱丌禺乇賷賳貙 賰賱賲賴 兀禺賷乇賴 丕毓鬲乇丕賮 賱兀亘 丕毓鬲乇丕賮 睾賷乇 丌亘賴 丕賵 睾賷乇 賲賵噩賵丿.
卮賰乇丕賸 亘賷乇噩賲丕賳
卮賰乇丕賸 亘賷乇噩賲丕賳
August 10, 2016
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鈥檚 several films I鈥檝e 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鈥檝e 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 鈥� 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鈥檚 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 Hammersh酶i, Ilsted si Hols酶e.
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.
Anyway, what struck me in Bergman鈥檚 several films I鈥檝e 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鈥檝e 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 鈥� 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鈥檚 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 Hammersh酶i, Ilsted si Hols酶e.
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.
March 23, 2015
韦喂 蟺慰位蠀蟿维蟻伪蠂畏 味蠅萎 蔚委蠂蔚 慰 渭蔚纬维位慰蟼 危慰蠀畏未蠈蟼 蟽魏畏谓慰胃苇蟿畏蟼! 螠苇蟽伪 伪蟺蠈 蟿慰 伪蠀蟿慰尾喂慰纬蟻伪蠁喂魏蠈 蟿慰蠀 尾喂尾位委慰, 伪谓伪未蔚喂魏谓蠉慰谓蟿伪喂 慰喂 蟺蟻慰蟽蠅蟺喂魏苇蟼 蟿慰蠀 蟽蟿喂纬渭苇蟼, 慰喂 慰喂魏慰纬蔚谓蔚喂伪魏苇蟼 伪谓伪蟿伪蟻维尉蔚喂蟼, 慰喂蟽蠂苇蟽蔚喂蟼 蟿慰蠀 渭蔚 蠁委位慰蠀蟼 魏伪喂 纬蠀谓伪委魏蔚蟼, 蠈位伪 伪蠀蟿维 蟺慰蠀 蟿伪 苇未蔚喂尉蔚 蟽蟿喂蟼 蟿伪喂谓委蔚蟼 蟿慰蠀. 螣喂 蠁委位慰喂 蟿慰蠀 胃伪 蟺蟻苇蟺蔚喂 慰蟺蠅蟽未萎蟺慰蟿蔚 谓伪 蟿慰 未喂伪尾伪蟽慰蠀谓
January 22, 2012
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 .
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 again, it might just be that I have to forget most of what I've read about his personal life and get on with it, watch his films without the background that I never really wanted.
I'm not against neurotic people who have been deprived of parental love. But Bergman's failures in life might have been from living his true life in film, and that's where you ought to go looking for his memoirs. He was a bastard to lots of people in his life, swinging between his own issues: self-loathing and self-congratulating. But he was wonderful to audiences everywhere. But what you capture with light cannot, for the most part, be done with a pen (Tarkovsky somehow managed both).
The good parts in the book are when he doesn't focus on himself: the bit about his girlfriend's piano teacher, and her terrible wartime experience; also one of the last chapters, revolving around his father. I'd have been better off re-reading 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 again, it might just be that I have to forget most of what I've read about his personal life and get on with it, watch his films without the background that I never really wanted.
I'm not against neurotic people who have been deprived of parental love. But Bergman's failures in life might have been from living his true life in film, and that's where you ought to go looking for his memoirs. He was a bastard to lots of people in his life, swinging between his own issues: self-loathing and self-congratulating. But he was wonderful to audiences everywhere. But what you capture with light cannot, for the most part, be done with a pen (Tarkovsky somehow managed both).
The good parts in the book are when he doesn't focus on himself: the bit about his girlfriend's piano teacher, and her terrible wartime experience; also one of the last chapters, revolving around his father. I'd have been better off re-reading Sculpting in Time.
April 30, 2020
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La autobiografia del m铆tic director 茅s irregular per貌 plena de talent i risc; collons, si 茅s que si s'hi hagu茅s posat tamb茅 hauria estat un bon escriptor. L'inici 茅s molt anguni贸s, amb frases curtes i fredes sense cap empatia amb els traumes aliens - com en la vida real, 茅s la seva manera de presentar-se, de protegir-se. Poc a poc el llibre es desbrida i va barrejant, fins i tot en el mateix cap铆tol, fets i temps sense soluci贸 de continu茂tat, confiant en la intel路lig猫ncia del lector. A cops canvia el nom de la parella sense explicar si 茅s anterior, un amant... tot 茅s com un torrent. El final 茅s emotiu: alterna tro莽os del dietari sobre la mort del pare amb un llarg record d'infantesa amb ell. En el cas de la mare, far脿 un resum emotiu de la seva vida mitjan莽ant la seva aparen莽a a les fotos: "Sigo hojeando. Mi madre va desapareciendo en el hormigueante colectivo de las fotos de familia. [...] vestida con un elegante traje claro, la sonrisa ya no le llega a los ojos."
March 15, 2022
賱兀賳賷 兀丨亘 亘賷乇噩賲丕賳 賵毓丕賱賲賴 亘卮賰賱 鬲賱賯丕卅賷 賰賳鬲 賲兀禺賵匕丞 亘爻賷乇鬲賴.. 賴匕丕 丕賱乇噩賱 丕賱匕賷 賵丿丿鬲 毓賱賶 丕賱丿賵丕賲 賱賵 兀賯丕亘賱賴 賱賲乇丞 賵丨賷丿丞 亘賷賳賲丕 賴賵 賷鬲丕亘毓 氐賳毓鬲賴 丕賱賵丨賷丿丞 丕賱鬲賷 兀噩丕丿賴丕.
January 17, 2024
I can never view this man in the same way again. Loved it tho. Master of the dreamscape.
November 25, 2018
醿戓償醿犪儝醿涐儛醿溼儤 醿┽償醿涐儤 醿斸儬醿�-醿斸儬醿椺儤 醿め儛醿曖儩醿犪儤醿⑨儤 醿犪償醿熱儤醿♂儩醿犪儤醿�, 醿涐儛醿掅儬醿愥儧 醿戓償醿曖儬醿� 醿愥儬醿愥儰醿斸儬醿� 醿曖儤醿儩醿撫儤 醿涐儛醿♂儢醿� 醿撫儛 醿ㄡ償醿樶儷醿氠償醿戓儛 醿樶儣醿メ儠醿愥儭, 醿犪儩醿� 醿儩醿⑨儛醿椺儤 醿掅儛醿欋儠醿樶儬醿曖償醿戓儯醿氠儤醿� 醿欋儤 醿撫儛醿曖儬醿┽儤 醿愥儧 醿儤醿掅儨醿樶儣. 醿涐儤醿ａ儺醿斸儞醿愥儠醿愥儞 醿樶儧醿樶儭醿�, 醿犪儩醿� 醿涐儤醿� 醿め儤醿氠儧醿斸儜醿ㄡ儤 醿欋儛醿犪儝醿愥儞 醿┽儛醿溼儭 醿涐儤醿♂儤 醿儛醿♂儤醿愥儣醿� 醿撫儛 醿斸儧醿濁儶醿樶償醿戓儤 醿曖償醿犪儛醿♂儩醿撫償醿� 醿儛醿犪儧醿濁儠醿樶儞醿掅儨醿斸儞醿� 醿犪儩醿� 醿涐儤醿♂儤 醿儺醿濁儠醿犪償醿戓儛 醿愥儧醿撫償醿� 醿樶儧醿斸儞醿掅儛醿儬醿ａ償醿戓儛醿�, 醿撫儛醿涐儶醿樶儬醿斸儜醿愥儭 醿撫儛 醿ａ儜醿犪儛醿氠儩醿� 醿儺醿濁儠醿犪償醿戓儤醿� 醿涐儬醿愥儠醿愥儦醿償醿� 醿償醿氠儛醿儦醿� 醿撫儛醿儳醿斸儜醿愥儭 醿樶儣醿曖儦醿樶儞醿�. 醿涐儥醿愥儶醿犪儤 醿撫儛 醿儤醿ａ儮醿� 醿戓儯醿溼償醿戓儤醿� 醿炨儛醿⑨儬醿濁儨醿� 醿犪儩醿� 醿樶儳醿� 醿戓儛醿曖儴醿曖儩醿戓儤醿撫儛醿溼儠醿� 醿斸儮醿п儩醿戓儩醿撫儛 醿撫儛 醿♂儤醿儩醿儺醿氠儤醿� 醿戓儩醿氠儩醿涐儞醿斸儶 醿ㄡ償醿樶儨醿愥儬醿┽儯醿溼儛 醿斸儭 醿濁儬醿� 醿椺儠醿樶儭醿斸儜醿�, 醿愥儦醿戓儛醿� 醿愥儧醿樶儮醿濁儧醿愥儶 醿樶儳醿� 醿掅儛醿涐儩醿犪儵醿斸儯醿氠儤 醿ㄡ儠醿樶儦醿� 醿撫儛 醿曖儺醿斸儞醿愥儠醿� 醿欋儤醿撫償醿� 醿犪儩醿� 醿戓儩醿氠儩醿涐儞醿� 醿掅儛醿樶儮醿愥儨醿� 醿椺儛醿曖儤醿♂儤. 醿┽償醿涐儣醿曖儤醿� 醿樶儨醿撫儤醿め償醿犪償醿溼儮醿ａ儦醿� 醿愥儞醿愥儧醿樶儛醿溼儤醿� 醿ㄡ儣醿愥儜醿斸儹醿撫儤醿氠償醿戓儛 醿撫儛醿⑨儩醿曖儛, 醿曖償醿犪儶 醿樶儭 醿曖儤醿掅儬醿償醿溼儤 醿ａ儳醿曖儛醿犪儞醿� 醿椺儯 醿愥儬醿� 醿曖儤醿溼儧醿� 醿償醿ㄡ儧醿愥儬醿樶儮醿愥儞, 醿め儛醿メ儮醿� 醿犪儩醿� 醿椺儛醿曖儤醿� 醿椺儛醿曖儞醿愥優醿樶儬醿曖償醿� 醿♂償醿メ儭醿ａ儛醿氠儯醿� 醿掅儛醿涐儩醿儞醿樶儦醿斸儜醿愥儢醿� 醿愥儭醿� 醿掅儯醿氠儲醿樶儛醿� 醿♂儛醿ａ儜醿犪儩醿戓儭, 醿♂儛醿欋儧醿愥儩醿� 醿椺儛醿涐儛醿涐儤 醿溼儛醿戓儤醿儤醿�, 醿犪儩醿掅儩醿犪儶 醿曖儺醿斸儞醿愥儠醿� 醿椺儛醿曖儤醿♂儤 醿愥儠醿愥儞醿涐儳醿濁儰醿濁儜醿樶儭 醿愥儧醿戓儛醿曖儢醿斸儶 醿♂儛醿欋儧醿愥儩醿� 醿欋儩醿涐儤醿欋儯醿犪儛醿� 醿♂儛醿ａ儜醿犪儩醿戓儭 醿撫儛 醿♂儯醿� 醿愥儬 醿涐儛醿氠儛醿曖儭 醿犪儩醿掅儩醿� 醿撫儛醿犪儜醿濁儞醿� 醿⑨儯醿愥儦醿斸儮醿ㄡ儤 醿掅儛醿涐儯醿撫儧醿斸儜醿樶儣. 醿涐儛醿掅儬醿愥儧 醿め儛醿メ儮醿樶儛 醿椺儛醿曖儤醿♂儤 醿儺醿濁儠醿犪償醿戓儤醿♂償醿ａ儦醿� 醿⑨儬醿愥儝醿斸儞醿樶儤醿�, 醿愥儠醿愥儞醿涐儳醿濁儰醿濁儜醿樶儭 醿撫儛 醿п儩醿曖償醿� 醿償醿犪儢醿� 醿炨儬醿濁儰醿斸儭醿樶儯醿氠儤 醿め儤醿愥儭醿欋儩醿� 醿♂儺醿曖償醿戓儛醿涐儞醿� 醿涐儤醿⑨儛醿溼儛 醿欋儛醿犪儝醿愥儞 醿掅儛醿涐儩醿ａ儠醿樶儞醿�. 醿儤醿掅儨醿ㄡ儤 醿曖儤醿メ儮醿濁儬 醿ㄡ償醿戓償醿犪儝醿� 醿涐儤醿涐儛醿犪儣醿愥儠醿� 醿戓償醿犪儝醿涐儛醿溼儭 - ,,醿ㄡ償醿溼儤 醿♂儶醿斸儨醿斸儜醿� 醿栣償醿撫儧醿斸儮醿愥儞 醿┽儛醿儦醿愥儬醿椺儯醿氠儤醿�, 醿愥儬 醿ㄡ償醿樶儷醿氠償醿戓儛 醿п儠醿斸儦醿� 醿儠醿犪儤醿氠儧醿愥儨醿� 醿涐儨醿樶儴醿曖儨醿斸儦醿濁儠醿愥儨 醿涐儩醿曖儦醿斸儨醿愥儞 醿愥儱醿儤醿�, 醿涐儛醿п儯醿犪償醿戓償醿氠儤 醿愥儧醿撫償醿溼儭 醿曖償醿� 醿樶儮醿愥儨醿♀€�. 醿涐儤醿� 醿め儤醿氠儧醿斸儜醿栣償 醿栣儯醿♂儮醿愥儞 醿愥儭醿斸儣醿� 醿愥儭醿濁儶醿樶儛醿儤醿� 醿涐儤醿┽儨醿撫償醿戓儛 醿撫儛 醿戓償醿曖儬醿償醿� 醿涐儤醿椺儱醿曖儛醿涐儭 醿樶儝醿樶儠醿�, 醿愥儦醿戓儛醿� 醿樶儧 醿樶儧醿斸儞醿掅儛醿儬醿ａ償醿戓儛醿�, 醿犪儩醿� 醿涐儤醿♂儤 醿愥儬醿愥儭醿濁儞醿斸儭 醿愥儬醿愥儠醿樶儭 醿斸儭醿涐儩醿撫儛, 醿︶儬醿涐儛醿� 醿掅儛醿樶儞醿掅儛 醿め償醿♂儠醿斸儜醿� 醿涐儛醿♂儴醿� 醿撫儛 醿愥儬醿� 醿め儤醿氠儧醿斸儜醿ㄡ儤 醿掅儛醿儛醿撫儛 醿戓儩醿氠儩醿涐儞醿� 醿п儠醿斸儦醿愥儰醿斸儬醿� 醿掅儛醿♂儛醿掅償醿戓儤 醿п儠醿斸儦醿愥儭醿椺儠醿樶儭. 醿犪儛醿� 醿п儠醿斸儦醿愥儢醿� 醿涐儨醿樶儴醿曖儨醿斸儦醿濁儠醿愥儨醿樶儛 醿掅儛醿曖儤醿椺儛醿曖儤醿♂償 醿犪儩醿� 醿儺醿濁儠醿犪償醿戓儛醿ㄡ儤 醿ㄡ償醿樶儷醿氠償醿戓儛 醿愥儣醿愥儭醿掅儢醿樶儭 醿撫儛醿斸儶醿�, 醿涐儛醿掅儬醿愥儧 醿п儩醿曖償醿氠儣醿曖儤醿� 醿涐儩醿愥儺醿斸儬醿償醿� 醿儛醿涐儩醿撫儝醿濁儧醿愥儭 醿椺儯醿欋儤 醿愥儧醿愥儭 醿涐儩醿樶儨醿撫儩醿涐償醿�, 醿椺儯醿溼儞醿愥儶 醿メ儠醿斸儧醿濁儞醿愥儨 醿掅儛醿涐儯醿撫儧醿斸儜醿樶儣 醿曖儤醿︶儛醿� 醿掅償醿メ儛醿┽償醿戓儩醿撫償醿�. 醿曖償醿犪儛醿♂儩醿撫償醿� 醿儛醿犪儧醿濁儠醿樶儞醿掅償醿溼儞醿�, 醿犪儩醿� 醿愥儭醿斸儣醿� 醿愥儬醿愥儵醿曖償醿ａ儦醿斸儜醿犪儤醿曖儤 醿め儤醿氠儧醿斸儜醿樶儭 醿愥儠醿⑨儩醿犪儭 醿儺醿濁儠醿犪償醿戓儛醿ㄡ儤 醿儛醿犪儧醿愥儮醿斸儜醿愥儢醿� 醿涐償醿⑨儤 醿樶儧醿斸儞醿掅儛醿儬醿ａ償醿戓儛 醿儠醿撫儛 醿儤醿氠儛醿�, 醿犪儤醿� 醿掅儛醿涐儩醿� 醿涐儯醿撫儧醿樶儠醿愥儞 醿♂儛醿欋儯醿椺儛醿犪儤 醿椺儛醿曖儤醿♂儝醿愥儨 醿掅儛醿メ儶醿斸儠醿� 醿♂儯醿犪儞醿�.
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August 4, 2021賳賲蹖鈥� 丿賵賳賲 趩賴鈥屫焚堌� 卮丿 讴賴 亘賴 丕蹖賳 氐賮丨賴 乇爻蹖丿賲 (丌禺乇蹖賳 鬲賱丕卮鈥屬囏з� 丿乇 賳賵卮鬲賳 趩蹖夭讴蹖 亘乇丕蹖 讴鬲丕亘鈥屬囏� 趩賳丿 賵賯鬲蹖賴 亘賴 賳鬲蹖噩賴 賳賲蹖鈥屫必迟�). 丨鬲蹖 蹖丕丿賲 賳賲蹖丕丿 丕蹖賳 讴鬲丕亘 乇賵 讴賽蹖 禺賵賳丿賲責 蹖丕 丕氐賱丕 禺賵賳丿賲責 (丕丨鬲賲丕賱丕賸 胤乇賮丕蹖 爻丕賱 賳賵丿-賳賵丿 賵 蹖讴貙 夭賲丕賳蹖 讴賴 爻毓蹖 夭蹖丕丿蹖 賲蹖鈥屭┴必� 鬲丕 禺賵丿賲 乇賵 亘賴卮 毓賱丕賯賴鈥屬呝嗀� 亘讴賳賲 賵 丕丨鬲賲丕賱丕賸 倬購夭 亘丿賲) 賴蹖趩鈥屬堎傌� 趩賳丿丕賳 丕夭 亘乇诏賲丕賳 賵 賮蹖賱賲鈥屬囏ж� 禺賵卮賲 賳賲蹖賵賲丿貨 噩夭 鬲賵鬲 賮乇賳诏蹖鈥屬囏й� 賵丨卮蹖 賵 鬲丕 丨丿蹖 倬乇爻賵賳丕... 亘賯蹖賴鈥屰� 賮蹖賱賲鈥屬囏� 亘乇丕賲 睾蹖乇 賯丕亘賱 賮賴賲貙 卮毓丕乇蹖 賵 诏賱 丿乇卮鬲 丕賳丿... 丨鬲蹖 讴賱賵夭丌倬 賴丕蹖 賲毓乇賵賮卮 賴賲 丿蹖诏賴 賲孬賱 賯亘賱 乇賵賲 鬲丕孬蹖乇 賳賲蹖鈥屫柏ж辟�... 賵賱蹖 賮賯胤 蹖讴 趩蹖夭 賴爻鬲 讴賴 亘賴 禺丕胤乇卮 鬲丕 丕亘丿 賲賲賳賵賳 亘乇诏賲丕賳 禺賵丕賴賲 亘賵丿: 亘丕禺
趩賳丿 賵賯鬲 倬蹖卮 讴賴 禺賵丕爻鬲賲 芦賴賲鈥屭嗁堎� 丿乇 蹖讴 丌蹖賳賴禄 乇賵 亘亘蹖賳賲 (賵 胤亘賯 賲毓賲賵賱 丿乇 賳賴丕蹖鬲 禺爻鬲賴 卮丿賲)貙 乇賵蹖 鬲蹖鬲乇丕跇 卮乇賵毓 讴賴 丕蹖賳 賲賵爻蹖賯蹖 乇賵 卮賳蹖丿賲貙 賲賵 亘賴 鬲賳賲 爻蹖禺 卮丿. 丕賲乇賵夭 丿丕卮鬲賲 爻丕乇丕亘丕賳丿賽 芦趩賱賵 爻賵卅蹖鬲 丿賵禄 乇賵 诏賵卮 賲蹖鈥屭┴必� 賵 賲鬲賵噩賴 卮丿賲 讴賴 丕蹖賳 賴賲賵賳 賲賵爻蹖賯蹖賴...
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趩賳丿 賵賯鬲 倬蹖卮 讴賴 禺賵丕爻鬲賲 芦賴賲鈥屭嗁堎� 丿乇 蹖讴 丌蹖賳賴禄 乇賵 亘亘蹖賳賲 (賵 胤亘賯 賲毓賲賵賱 丿乇 賳賴丕蹖鬲 禺爻鬲賴 卮丿賲)貙 乇賵蹖 鬲蹖鬲乇丕跇 卮乇賵毓 讴賴 丕蹖賳 賲賵爻蹖賯蹖 乇賵 卮賳蹖丿賲貙 賲賵 亘賴 鬲賳賲 爻蹖禺 卮丿. 丕賲乇賵夭 丿丕卮鬲賲 爻丕乇丕亘丕賳丿賽 芦趩賱賵 爻賵卅蹖鬲 丿賵禄 乇賵 诏賵卮 賲蹖鈥屭┴必� 賵 賲鬲賵噩賴 卮丿賲 讴賴 丕蹖賳 賴賲賵賳 賲賵爻蹖賯蹖賴...
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December 30, 2022Ja nej otrolig. Alla som 盲r p氓 minsta s盲tt intresserade av antingen skapande eller Sverige under perioden 1940-90 borde l盲sa (allts氓 alla).
Hade t盲nkt att 2022 skulle ha varit mitt Bergman 氓r men tror att alla 氓r ska bli mina Bergman 氓r.
Hade t盲nkt att 2022 skulle ha varit mitt Bergman 氓r men tror att alla 氓r ska bli mina Bergman 氓r.
May 24, 2016
Berman's movies are a passion for me, so I absolutely devoured this book - however, it does not contain that much insights into his methods. Hence the three stars.
August 18, 2023
A mesmerizing memoir by a film director that I have admired my entire life. The time line is staggered with reminiscences from childhood, early student days and his marriages as well as numerous affairs. I realized that I had never understood how turbulent his life was even though his films should have been strong clues to such issues. In particular I enjoyed his memories from childhood which are colorful, psychological and memorable. His description of the politics of the theater in Sweden (and later the IRS tax litigations) are quite a rollercoaster with plenty of sarcasm and barbs. The memoir feels honest and inspiring. I very much appreciate that Bergman was willing to publish this material. After all, he was one of Sweden's (and the world's) greatest film makers. Time to revisit his films!
January 18, 2019
醿メ儛醿犪儣醿ａ儦醿� 醿椺儛醿犪儝醿涐儛醿溼儤醿� 醿儛醿曖儤醿欋儤醿椺儺醿�. 醿曖償醿� 醿曖優醿濁儯醿氠儩醿� 醿愥儱. 醿掅儛醿♂儛醿欋儠醿樶儬醿愥儞 醿愥儲醿め儬醿椺儩醿曖儛醿溼償醿戓儯醿氠儤 醿撫儛醿曖儬醿┽儤, 醿愥儱醿愥儧醿撫償 醿涐儤醿♂儤 醿犪儛醿涐儞醿斸儨醿樶儧醿� 醿炨儬醿濁儢醿� 醿涐儱醿濁儨醿撫儛 醿儛醿欋儤醿椺儺醿ａ儦醿� 醿撫儛 醿撫儤醿撫儤 醿愥儬醿愥儰醿斸儬醿�, 醿┽儠醿斸儯醿氠償醿戓儬醿樶儠醿� 醿⑨償醿メ儭醿⑨償醿戓儤, 醿欋儤醿溼儩醿溼儛醿犪儛醿⑨儤醿曖儤醿�, 醿栣償醿� 醿斸儮醿п儩醿戓儩醿撫儛 醿犪償醿熱儤醿♂儩醿犪儤醿� 醿償醿氠儤. 醿愥儧 醿儤醿掅儨醿ㄡ儤 醿п儠醿斸儦醿愥儰醿斸儬醿� 醿炨儤醿犪儤醿メ儤醿椺儛醿� - 醿撫儤醿撫儤 醿涐儸醿斸儬醿氠儤醿� 醿儤醿掅儨醿� 醿曖儥醿樶儣醿儯醿氠儩醿戓儞醿� 醿涐償醿掅儩醿溼儛 醿犪儛醿︶儛醿� 醿涐儩醿涐償醿溼儮醿ㄡ儤.
醿撫儛, 醿儩, 醿斸儬醿椺儤, 醿♂儛醿ㄡ儯醿愥儦醿� 醿撫儩醿溼儤醿� 醿炨儬醿濁儢醿愥儯醿氠儤 醿儤醿掅儨醿� 醿愥儱醿曖儭 "醿掅儯醿氠儛醿儞醿樶儦醿樶儭 醿♂儛醿ａ儜醿犪償醿戓儤", 醿儩醿撫儛 醿愥儧 醿儤醿掅儨醿� 醿ａ儰醿犪儩 醿ａ儺醿撫償醿戓儛 醿斸儝 醿♂儛醿椺儛醿ａ儬醿�. 醿儦醿樶償醿犪儤 醿ａ儨醿撫儛 醿樶儳醿�, 醿犪儩醿� 醿愥儭醿斸儣醿� 醿掅儯醿氠儛醿儞醿樶儦醿濁儜醿� 醿掅儱醿濁儨醿撫償醿� <3
醿撫儛, 醿儩, 醿斸儬醿椺儤, 醿♂儛醿ㄡ儯醿愥儦醿� 醿撫儩醿溼儤醿� 醿炨儬醿濁儢醿愥儯醿氠儤 醿儤醿掅儨醿� 醿愥儱醿曖儭 "醿掅儯醿氠儛醿儞醿樶儦醿樶儭 醿♂儛醿ａ儜醿犪償醿戓儤", 醿儩醿撫儛 醿愥儧 醿儤醿掅儨醿� 醿ａ儰醿犪儩 醿ａ儺醿撫償醿戓儛 醿斸儝 醿♂儛醿椺儛醿ａ儬醿�. 醿儦醿樶償醿犪儤 醿ａ儨醿撫儛 醿樶儳醿�, 醿犪儩醿� 醿愥儭醿斸儣醿� 醿掅儯醿氠儛醿儞醿樶儦醿濁儜醿� 醿掅儱醿濁儨醿撫償醿� <3
November 11, 2024
Jag f枚rst氓r att han var en s氓n tjejtjusare tbh鈥� helt besatt av Uppsalaskildringen, hans vidriga pr盲stuppv盲xt och intima teaterliv som slutligen ledde honom till att bli ett cineastiskt geni. 脛lskade beefen med Olof Lagercrantz och om hur sj盲lvkritisk och medveten han 盲r f枚r sin tid (f枚r det mesta!) Bergman bekr盲ftar 盲ven min tes om att de mest sansl枚sa skaparna lider av kroniska magbesv盲r!!
November 16, 2023
ta ei t玫epoolest ei s盲盲sta oma kirjeldustes kedagi, isegi mitte lugejat.
noh, soovitan!
noh, soovitan!
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