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A free floating commentary on culture, politics, economics, and religion based on a passionate commitment to the truth and a desire graciously to refute that which is contrary to it….
"He must hold firm to the sure word as taught, so that he may be able to give instruction in sound doctrine and also to confute those who contradict it."
--Titus 1:9, Revised Standard Version
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Critics called Mr. Bergman one of the directors — the others being Federico Fellini and Akira Kurosawa — who dominated the world of serious film making in the second half of the 20th century.
He moved from the comic romp of lovers in “Smiles of a Summer Night” to the Crusader’s search for God in “The Seventh Seal,” and from the gripping portrayal of fatal illness in “Cries and Whispers” to the alternately humorous and horrifying depiction of family life in “Fanny and Alexander.”
Mr. Bergman dealt with pain and torment, desire and religion, evil and love; in Mr. Bergman’s films, “this world is a place where faith is tenuous; communication, elusive; and self-knowledge, illusory,” Michiko Kakutani wrote in The New York Times Magazine in a profile of the director. God is either silent or malevolent; men and women are creatures and prisoners of their desires.
For many filmgoers and critics, it was Mr. Bergman more than any other director who in the 1950s brought a new seriousness to film making.
“Bergman was the first to bring metaphysics — religion, death, existentialism — to the screen,” Bertrand Tavernier, the French film director, once said. “But the best of Bergman is the way he speaks of women, of the relationship between men and women. He’s like a miner digging in search of purity.”
He influenced many other film makers, including Woody Allen, who according to The Associated Press said in a tribute in 1988 that Mr. Bergman was “probably the greatest film artist, all things considered, since the invention of the motion picture camera.”
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