Carl dredged up the calumny:
> Reminds me of John Gielgud's comment about Ingrid
Bergman: "She speaks five languages and can't act in
any of them."
I would recommend that he (and others) look at the following:
Europa '51 (Roberto Rossellini) -- possibly the finest progressive/Marxist movie ever made.
Viaggio in Italia (Roberto Rossellini) -- Rossellini's and Italian neo-realism's peak. Bergman redefines the art of screen acting.
Elena et les Hommes (Jean Renoir) -- Renoir's re-make of La Regle du Jeu as farce, he made it just so he could work with Bergman
Autumn Sonata (Ingmar Bergman) -- Her last feature film ,and one in which she digs so deeply inside both herself and her persona that the screen seems to rip apart with the energy released.
Notorious (Alfred Hitchcock) -- Hitchcock's greatest film in black-and-white, Bergman plays a woman who lives and plays by her own rules unlike so many women in Hollywood films of the time.
Bergman had the rare gifts to be both a great actress as well as a great star, and was still willing to walk away from it all when she wanted to work with Rossellini (she was denounced on the floor of the Senate).
Brian Dauth Queer Buddhist Resister