By Ingmar Bergman
Includes English translations of the screenplays for Smiles of a summer time evening (1955), The 7th Seal (1957), Wild Strawberries (1957), and The Magician (1958). evidently, all 4 performs date round the similar period of time, a vital coming-to-being turning element within the profession of, virtually inarguably, the best film-maker of all time. additionally integrated is an introductory dialog exerpt by way of Bergman on film-making and a Preface by way of manufacturer Carl Anders Dymling.
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Extra resources for Four Screenplays of Ingmar Bergman
Example text
DESIREE: You've always had a long memory. FREDRIK: Oh, long memory, long memory. Who was it that started to dig into the past? DESIREE: Why does it matter to me if you love your little child bride and can't master her? Do you think that I give a hoot if your heart is bleeding? Just let it bleed and feel how it hurts. FREDRIK: I thought that we were friends, but now I see that I'm mistaken and I curse my honesty of a moment ago. DESIREE: Why should I be friends with you, you who have never had any other friend but yourself?
The old buck only too often raises his ugly head and brays right in my face and then I become discontented and angry with myself because it wasn't exactly what I intended. DESIREE: And what do you want from me? FREDRIK: I want you to tell me that it's hopeless with Anne. Or the opposite. Or anything else. DESIREE: How can I do that without knowing her? 58 FREDRIK: You must help me, Desiree. You must help me for the sake of an old friendship. DESIREE (laughs): Well, that's one reason, isn't it? Fredrik stops in front of her, takes her by the shoulders and meets her glance in the mirror.
His wife wipes the tears from her eyes and sits up in bed. She has something to think about. The town has a very beautiful old theater where the bourgeoisie, the military and the country nobility meet ever so often to look at themselves and each other as well as at some high-class performances by some high-class companies. Fredrik Egerman and his wife occupy two box seats rather close to the stage. Anne sits in front at the rail, her face calm and expectant. Her hands rest in her lap; she seems completely absorbed in the play.