‘நகுலன்’ தேவாதி தேவன் என்று எல்லாரும் புகழ, தரைக்கு இறக்கினார் அ.மி. அது போல் இங்மேர் பெர்க்மேன் (Ingmar Bergman – ஐ எல்லாரும் புகழ, மறுபக்கம் காட்டுகிறது நியு யார்க் டைம்ஸ்.
Nearly all the obituaries I’ve read take for granted Mr. Bergman’s stature as one of the uncontestable major figures in cinema — for his serious themes (the loss of religious faith and the waning of relationships), for his expert direction of actors (many of whom, like Max von Sydow and Liv Ullmann, he introduced and made famous) and for the hard severity of his images. If you Google “Ingmar Bergman” and “great,” you get almost six million hits.
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At least part of his initial appeal in the ’50s seems tied to the sexiness of his actresses and the more relaxed attitudes about nudity in Sweden; discovering the handsome look of a Bergman film also clearly meant encountering the beauty of Maj-Britt Nilsson and Harriet Andersson. … It was a seductive error, but an error nevertheless.
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If the French New Wave addressed a new contemporary world, Mr. Bergman’s talent was mainly devoted to preserving and perpetuating an old one. … We remember the late Michelangelo Antonioni for his mysteriously vacant pockets of time, Andrei Tarkovsky for his elaborately choreographed long takes and Orson Welles for his canted angles and staccato editing. And we remember all three for their deep, multifaceted investments in the modern world — the same world Mr. Bergman seemed perpetually in retreat from.
சன்னாசி மட்டும்தான் அசோகமித்திரனுக்கு பதில் கொடுக்க முற்பட்டார். பெர்க்மனுக்கு பலர் கிளம்பியிருக்கிறார்கள். ‘தம்ஸ் அப்’ சொல்லும் ரோஜர் ஈபர்ட் இங்கு கவனிக்கிறார்..
Snap Judgment 