CheerupSilver Very Cool!!!

Glucedee It's hard to see any effort in the film. There's no comedy to speak of, no real drama and, worst of all.

Brennan Camacho Mostly, the movie is committed to the value of a good time.

Deanna There are moments in this movie where the great movie it could've been peek out... They're fleeting, here, but they're worth savoring, and they happen often enough to make it worth your while.

guedesnino Ingrid Bergman: In Her Own Words, through her own title, wishes to give the main idea of ​​the documentary, besides a posthumous tribute made by the person who is alive, her desire is that the central figure (Bergman) Own and pictures too. Such images were, therefore, a confessable passion of the actress, who manifested herself as a child when her father recorded her daughter on a daily basis.After her father's death, Ingrid continued the records on her own, altering only the order of her captures, it was she, who now assumed the records of various moments and of the various people she met in her life.Directed by the Swedish Stig Björkman, the documentary partially fulfills its promise, and the reason is soon unattainable, since without the presence of Bergman to talk about his life and also by the focus that the actress directed his letters and his diary, almost was little About his career, about his work and what causes a certain astonishment, since this was notoriously his greatest pleasure and where he felt happier. His records were largely concerned with the death of his mother and his brothers at an early age, and of the only figure he had left, but also of his father. Then his records are focused on the love life followed by the life of the four children, these being, figures that add a great part and time in the writing of the actress.Thus Bergman's words presented through a rich collection of images and home movies, is the strongest and most interesting element of the documentary, which extracts through interviews, archives and diaries of the Swedish star, the voice (own) Of the figure-character.The lack of any significant research on performance styles is appreciably felt, particularly due to the very different methods of its principal directors: George Cukor, Alfred Hitchcock, Robert Rossellini, Jean Renoir, Stanley Donen, Ingmar Bergman. There is some slight personality analysis - she was led, she was shy, "love came through the lens of the camera," she was brave - and the four children painted an attractive portrait of her largely absent mother. However, the psychological depth, Bjorkman, maker of documentaries like "Ingmar Bergman" and "Lars von Trier", barely goes beyond the level of a portrait of the Channel Biography. As such, Bergman is actually very difficult to read, and we are drawn to it even more because of it.With so much reference material at his disposal, Björkman can not overcome this mystery entirely, but what he does quite elegantly is to explore the mixed feelings of these four surviving children, all of which make it clear how fun it was and also give Light for the mother's felt absence at the desire of the actress in love with the craft.Perhaps there is nothing radically new to those with some knowledge of Ingrid Bergman's story of many other biographical TV portraits, but this is still a worthy door-to-call for all the curious about one of the greatest icons of cinema.

writers_reign At the Screening I attended the audience were all on the sunny side of 60. In other words the chances are they'd seen their share of Bergman moves and/or owned several on DVD so that possibly, like myself, they welcomed this glimpse of the person rather than the usual 'and-then-she- made' that constitute so many documentaries of this ilk. It seems that only one out of the six that have so far written about the film misses this approach and surely the solution is simple enough; if you want to watch Bergman on screen run several dvds, there are sufficient available, meanwhile leave others to wallow in the home movies and diaries she kept. This is a film you can watch with a light dusting of tears in your eyes for the pleasure she has provided over the years.

Sindre Kaspersen Swedish author, screenwriter, film editor and director Stig Björkman's documentary feature which he wrote with screenwriters Stina Gardell and Dominika Daübenbuchel, is inspired by his chance meeting with a daughter. It premiered in the Cannes Classics section at the 68th Cannes International Film Festival in 2015, was shot on locations in and is a Sweden-Germany co-production which was produced by producer Stina Gardell. It tells the story about a Swedish daughter, sister, student, mother, wife and author who was born in Stockholm, Sweden in the early 1900s, almost a century after the birth of a Swedish 19th century opera singer known as the Swedish Nightingale, into the reign of King Gustav V (1858-1950) and the First World War (1914-1918) when a Swedish MP named Hjalmar Hammarskjöld (1862-1953) was prime minister, as the third child of her German mother named Friedel Adler and her Swedish father named Justus Bergman who was a photographer and painter.Distinctly and subtly directed by Swedish filmmaker Stig Björkman, this quietly paced documentary which is narrated by a Swedish actress and dancer, through diary notes and mostly from the person in question's point of view, draws a lyrically literary and informatively abridged portrayal of a person who in the early 1930s was admitted at the Royal Dramatic Theatre's acting school (1787-1964) in Stockholm, Sweden, met a physician named Petter Lindström, made her acting debut, went to Berlin, Germany where she was offered to do a film regarding a French 18th century seamstress named Charlotte Corday (1768-1793), met an American talent scout in New York, U.S. named Katharine Brown Barrett (1902-1995), in the 1940s became the first Scandinavian actress to be acknowledged with the Academy Award for Best Actress in a Leading Role, was chosen by an American author surnamed Hemingway for a lead role in an adaptation of one of his literary works and who once said: "If you don't like the performance you can walk out …" While notable for its versatile and atmospheric milieu depictions and reverent cinematography by cinematographers Eva Dahlgren and Malin Korkeasalo, this narrative-driven story about cinema history and one of its brightest stars where interviews with her children, collaborating actresses, a film historian and friends paints a majestic portrait of a renowned Swedish 20th century theatre and film actress, autobiographer, recipient of the Swedish Illis Quorum medal and fleeting bird who lived and worked in the United States, France, England and Italy and where a Swedish singer sings: "… Jäg sjunger filmen om oss …" or "… I sing the film about us …" contains a great and timely score by composer Michael Nyman.This historically and biographically heartrending retelling of real events which is set in Sweden, USA, France, England and Italy in the 20th century and where a radically transcending human being who as a three-year-old was introduced to her aunt named Ellen, and who in the late 1970s, more than three centuries after a French 17th century philosopher who once lived in the Swedish Empire (1611-1721) published an essay called "Discourse on the Method" (1637), started shooting a feature film with a Swedish filmmaker and a Swedish actor surnamed Josephson in Norway is described by her beloved named Pia, Roberto, Isabella and Isotta Ingrid, is impelled and reinforced by its fragmented narrative structure, rhythmic continuity, archival footage, home video recordings, photographs and comment by Ullmann: "I think she represents that which the woman's struggle for liberation is about." An extraordinary documentary feature which gained a Special Mention at the 68th Cannes Film Festival in 2015.

olastensson13 Icon is becoming an almost useless word. Therefore, it's good Stig Björkman puts his focus on Ingrid Bergman as a human, and let's face it, how many of her pictures are interesting today, except Autumn Sonata by Ingmar Bergman? Casablanca is a Bogart movie.Many amateur clips. Her children talks about her mostly being somewhere else. The only one who shows some bitterness between the lines is the son.But anyway this Stig Björkman focus doesn't really have the potential to make us something more than shallow watchers. A rather entertaining story, but the entertainment isn't enough. You miss the analysis.