What Bergman does relate, particularly his tangled relationships with his parents, is not only illuminating but quite moving.
New Republicīergman] keeps returning to his past, reassessing it, distilling its meaning, offering it to his audiences in dazzling new shapes. The Magic Lantern is as personal and penetrating as a Bergman film, wry, shadowy, austere. Joan Tate s translation of this book has delicacy and true pitch. Ambitious in scope yet sensitively wrought, The Magic Lantern is a window to the mind of one of our era s great geniuses.īergman] has found a way to show the soul s landscape. Throughout, Bergman recounts his life in a series of deeply personal flashbacks that document some of the most important moments in twentieth-century filmmaking as well as the private obsessions of the man behind them. More grand mosaic than linear account, Bergman s vignettes trace his life from a rural Swedish childhood through his work in theater to Hollywood s golden age, and a tumultuous romantic history that includes five wives and more than a few mistresses.
Bergman, who has conveyed this heady sense of wonder and vision to moviegoers for decades, traces his lifelong love affair with film in his breathtakingly visual autobiography, The Magic Lantern. At the editing table, when I run the strip of film through, frame by frame, I still feel that dizzy sense of magic of my childhood. When a film is not a document, it is a dream.
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