Ingmar Bergman: influences, peers and legacy

Every connection with its receipt

Ingmar Bergman built his cinema from the silent Swedish masters, the chamber-play violence of Strindberg, and a Lutheran childhood he never stopped litigating. This mix traces the Stockholm theatre and Svensk Filmindustri roots, the international peers who traded influence with him, and the descendants still working in his shadow.

The Kynda mix for Ingmar Bergman

• Key Influence · The Phantom Carriage by Victor Sjöström (1921). Bergman said he watched Sjöström's silent Death-and-conscience allegory almost annually, and its imagery of a hooded driver collecting souls feeds directly into The Seventh Seal. Sjöström later became Bergman's mentor at Svensk Filmindustri and starred as the dreaming professor Isak Borg in Wild Strawberries, making the debt literal: the old master of Swedish silent cinema stands at the centre of Bergman's breakthrough film.
• Influencia Obscura · Häxan by Benjamin Christensen (1922). A Danish-Swedish pseudo-documentary on witchcraft, part lecture, part hallucination, funded by Svensk Filmindustri during the golden age Bergman inherited. Its medieval torture tableaux, plague-era superstition and grotesque devils prefigure the burning-witch sequence of The Seventh Seal and the flagellant processions Bergman staged. Rarely cited today, it maps the Nordic taste for theology as horror show.
• Local Roots · Miss Julie by Alf Sjöberg (1951). Sjöberg was Bergman's senior at Stockholm's Royal Dramatic Theatre and directed Torment from Bergman's first produced screenplay in 1944, launching his film career. His Cannes-winning Strindberg adaptation shows the same Swedish theatre-into-cinema pipeline Bergman would dominate: class cruelty, midsummer night, a chamber duel between servant and mistress staged with cinematic fluidity.
• Beyond the Medium · A Dream Play by August Strindberg (1901). Bergman staged Strindberg obsessively across six decades at the Royal Dramatic Theatre, returning to A Dream Play more than once. Its dissolving identities, doors opening onto nothing and refrain that humanity is to be pitied underwrite Persona, The Silence and Fanny and Alexander. Bergman treated Strindberg less as source material than as a permanent interlocutor about marriage, cruelty and God's absence.
• Peer · 8½ by Federico Fellini (1963). Fellini and Bergman were the twin poles of 1960s art cinema, jointly canonised by festival juries and repeatedly proposed for collaboration — a portmanteau project with Kurosawa that never materialised. Made the same period as Bergman's silence trilogy, 8½ turns a director's creative block into dream, memory and Catholic guilt, the mirror image of Bergman's Lutheran self-interrogations.
• From the Canon · Persona by Ingmar Bergman (1966). Shot on Fårö with Sven Nykvist after Bergman collapsed with illness while planning a larger film, Persona strands an actress who has stopped speaking and the nurse who talks for her on an island until the two faces merge in a spliced composite. Its burning film strip, ruptured projector and confessional monologues rewrote what a feature could do, and it began Bergman's long partnership with Liv Ullmann.
• Key Collaborator · The Sacrifice by Andrei Tarkovsky (1986). Nykvist shot more than twenty films for Bergman, from The Virgin Spring through Fanny and Alexander, developing the soft northern light and unblinking facial close-up that defined the style. Here he brings that instrument to Tarkovsky's final film, made in Sweden with Bergman regulars including Erland Josephson — the clearest demonstration that the Bergman look was substantially Nykvist's own craft.
• Legacy · Interiors by Woody Allen (1978). Allen has called Bergman the greatest film artist since the invention of the camera, and Interiors is his undisguised attempt at a Bergman chamber drama: a fracturing family, a suicidal mother, muted interiors and no jokes. He later hired Sven Nykvist to shoot several of his own films, importing the Bergman look directly, and quoted Wild Strawberries and Persona throughout his career.

What influenced Ingmar Bergman

• Jean-Luc Godard (1930). Bergman explicitly criticizes Godard's work, establishing a documented critical relationship. (also via Breathless) “I've never gotten anything out of his movies. They have felt constructed, faux intellectual and completely dead.” (Wikipedia)
• August Strindberg. As a child Bergman staged puppet productions of Strindberg's plays, an early connection to the playwright. (also via A Dream Play) “He fashioned his own scenery, marionettes , and lighting effects and gave puppet productions of Strindberg plays in which he spoke all the parts.” (Wikipedia)
• The Phantom Carriage by Victor Sjöström (1921). The Phantom Carriage (Victor Sjöström) — titan for Ingmar Bergman “The Seventh Seal won a special jury prize and was nominated for the Palme d'Or at Cannes, and Wild Strawberries won numerous awards for Bergman and its star, Victor Sjöström.” (en.wikipedia.org)
• The Passion of Joan of Arc by Carl Theodor Dreyer (1928). The Passion of Joan of Arc (Carl Theodor Dreyer) — titan for Ingmar Bergman (themoviedb.org)
• Häxan by Benjamin Christensen (1922). Häxan (Benjamin Christensen) — ghost for Ingmar Bergman (themoviedb.org)
• Sir Arne's Treasure by Mauritz Stiller (1919). Sir Arne's Treasure (Mauritz Stiller) — ghost for Ingmar Bergman (themoviedb.org)
• A Dream Play by August Strindberg (1901). A Dream Play (August Strindberg) — culture for Ingmar Bergman “=== Tax evasion charges in 1976 === On 30 January 1976, while rehearsing August Strindberg's The Dance of Death at the Royal Dramatic Theatre in Stockholm, he was arrested by two plainclothes police officers and charged with income tax e…” (en.wikipedia.org)
• Die Zauberflöte by Wolfgang Amadeus Mozart (1791). Die Zauberflöte (Wolfgang Amadeus Mozart) — culture for Ingmar Bergman (musicbrainz.org)

Peers and kindred spirits

• The Sacrifice by Andrei Tarkovsky (1986). The Sacrifice (Andrei Tarkovsky) — collaborator for Ingmar Bergman “Tarkovsky's vision of his film was greatly influenced by Bergman's style.” (Wikipedia)
• Sven Nykvist. Bergman had a long creative partnership with cinematographer Sven Nykvist. “Tarkovsky worked with cinematographer Sven Nykvist , who had worked on many films with director Ingmar Bergman .” (Wikipedia)
• Liv Ullmann. Ullmann became Bergman's most closely associated collaborator, both artistically and personally. (also via Faithless) “Liv Ullmann, who appeared in nine of Bergman's films and one televisual film ( Saraband ), was the last to join this group (in the film Persona )” (Wikipedia)
• Federico Fellini (1920). Wild Strawberries (Ingmar Bergman) — peer for Federico Fellini (via Wild Strawberries, 8½) “His parody of the films of Federico Fellini, All These Women (För att inte tala om alla dessa kvinnor) was released in 1964.” (en.wikipedia.org)
• Miss Julie by Alf Sjöberg (1951). Miss Julie (Alf Sjöberg) — geography for Ingmar Bergman “Frenzy) (Hets), a film directed by Alf Sjöberg.” (en.wikipedia.org)
• Elvira Madigan by Bo Widerberg (1967). Elvira Madigan (Bo Widerberg) — geography for Ingmar Bergman “He was critical of Swedish films, especially those by Ingmar Bergman, whom he called "Our spirit's Dala horse in the world", and likened his films to "...” (en.wikipedia.org)
• 8½ by Federico Fellini (1963). 8½ (Federico Fellini) — peer for Ingmar Bergman “His parody of the films of Federico Fellini, All These Women (För att inte tala om alla dessa kvinnor) was released in 1964.” (en.wikipedia.org)
• Mirror by Andrei Tarkovsky (1975). Mirror (Andrei Tarkovsky) — peer for Ingmar Bergman “It was finally shot in 1985 in Sweden, with many of the crew being alumni from Ingmar Bergman's films, including cinematographer Sven Nykvist.” (en.wikipedia.org)
• Faithless by Liv Ullmann (2000). Faithless (Liv Ullmann) — collaborator for Ingmar Bergman “Among his company of actors were Harriet Andersson, Bibi Andersson, Liv Ullmann, Gunnar Björnstrand, Erland Josephson, Ingrid Thulin, Gunnel Lindblom and Max von Sydow.” (en.wikipedia.org)
• Gunnar Fischer. Bergman had a long creative partnership with cinematographer Gunnar Fischer. “He forged a creative partnership with his cinematographers Gunnar Fischer and Sven Nykvist.” (Wikipedia)
• Donya Feuer. Bergman collaborated for many years with choreographer Donya Feuer at the Royal Dramatic Theatre. “he began a long-time collaboration with choreographer Donya Feuer.” (Wikipedia)
• Secrets of Women. Identifies Bergman as producer, director, and writer of the film. “produced, directed and written by Ingmar Bergman, music by Erik Nordgren.” (Evening Star (Washington, D.C.))
• Erland Josephson. Josephson is identified as a previous Bergman collaborator. “several people involved in the production had previously collaborated with Bergman, notably lead actor Erland Josephson” (Wikipedia)
• Dag Wiren. Film credits state Dag Wiren (rendered 'Das Wlren' by OCR) composed the music for Bergman's 'A Lesson in Love'. (via A Lesson in Love) “directed and written by Ingmar Bergman. giuslc by Das Wlren. At the Dupont Theater.” (Evening Star (Washington, D.C.))
• Eva Dahlbeck (1920). Critic Jay Carmody credits Eva Dahlbeck's performance in Bergman's film. (via A Lesson in Love) “It is a down right brilliant comedy perform ance that he gets from Eva Dahlbeck as the beautiful wife” (Evening Star (Washington, D.C.))
• Gunnar Bjornstrand. Carmody describes Gunnar Bjornstrand's role as the husband in Bergman's film. (via A Lesson in Love) “Gunnar Bjornstrand, a lithe, intellec tual type, is deft in every detail of his portrait of the husband” (Evening Star (Washington, D.C.))
• Ake Gronberg. Carmody describes Ake Gronberg's role as the artist in Bergman's film. (via A Lesson in Love) “Ake Gronberg robustly arrogant as the artist who finds his inspira tions in women and high-proof drink.” (Evening Star (Washington, D.C.))
• Michelangelo Antonioni. Persona (Ingmar Bergman) — peer for Michelangelo Antonioni (via Persona) “Antonioni died in Rome, aged 94, on 30 July 2007 (the same day that saw the death of renowned Swedish director Ingmar Bergman).” (en.wikipedia.org)
• Yvonne Lombard (1929). Carmody notes Yvonne Lombard's performance as the other woman in Bergman's film. (via A Lesson in Love)

Who Ingmar Bergman influenced

• Woody Allen. Allen described Bergman as the greatest film artist since the invention of the motion picture camera. (also via Interiors, Annie Hall) “probably the greatest film artist, all things considered, since the invention of the motion picture camera” (Wikipedia)
• Andrei Tarkovsky. Winter Light (Ingmar Bergman) — titan for Andrei Tarkovsky (via Winter Light, Cries and Whispers, Wild Strawberries) “Winter Light , Wild Strawberries , and Persona by Ingmar Bergman ; Nazarín by Luis Buñuel” (Wikipedia)
• Stanley Kubrick (1928). Kubrick wrote a personal letter to Bergman expressing deep admiration for his work. “Your vision of life has moved me deeply, much more deeply than I have ever been moved by any films. I believe you are the greatest film-maker at work today” (Wikipedia)
• Martin Scorsese. Scorsese commented on the significant impact Bergman's films had on audiences. “He has also cited the works of Satyajit Ray , [ 19 ] Ingmar Bergman , [ 22 ] [ 23 ] Andrzej Wajda , [ 24 ] Michelangelo Antonioni , [ 25 ] Federico Fellini , [ 26 ] Ishirō Honda and Eiji Tsuburaya [ 27 ] as major influences on his career.” (Wikipedia)
• Interiors by Woody Allen (1978). Interiors (Woody Allen) — legacy for Ingmar Bergman “he found in literature and the performing arts a way of both recreating and questioning the human condition." Director Martin Scorsese commented that "it's impossible to overestimate the effect that [his] films had on people." Terrence R…” (en.wikipedia.org)
• Thomas Vinterberg (1969). Vinterberg names Bergman as one of his major influences and describes personal contact with him. “Bergman is always in my head. He is part of my upbringing and I was fortunate to meet him and get advice from him.” (Wikipedia)
• Richard Ayoade (1977). Ayoade cites Bergman as a personal inspiration. “Writer and director Richard Ayoade counts Bergman as one of his inspirations.” (Wikipedia)
• Todd Field (1964). Field, describing a personal encounter with Bergman, reflects on his profound influence on filmmakers. “Bergman belonged to all of us. He was our tunnel man building the aqueducts of our cinematic collective unconscious.” (Wikipedia)
• Bertrand Tavernier (1941). Tavernier, a fellow director, credits Bergman with pioneering metaphysical themes in cinema. “Bergman was the first to bring metaphysics – religion, death, existentialism – to the screen.” (Wikipedia)
• Annie Hall by Woody Allen (1977). Woody Allen's Annie Hall references and praises Bergman's films. “Bergman's films are mentioned and praised in Annie Hall and other Allen films.” (Wikipedia)
• Breathless by Jean-Luc Godard. Breathless includes visual quotations from Bergman's films. “visual quotations from the films of Ingmar Bergman, Samuel Fuller, Fritz Lang and others” (Wikipedia)
• James Baldwin (1924). Baldwin's essays engage with Ingmar Bergman as a cultural figure. “He has written about Norman Mailer, Ingmar Bergman and Richard Wright, displaying some paradoxical and sometimes con tradictory statements about them.” (The Key West Citizen (Key West, Fla.))
• Images. The article describes Images as inspired by Bergman. “Images , his single, Bergman -inspired attempt at making a horror film;” (Wikipedia)
• François Truffaut (1932). Bergman is among the filmmakers Truffaut admired. “Truffaut expressed his admiration for filmmakers such as Luis Buñuel , Ingmar Bergman , Robert Bresson , Roberto Rossellini and Alfred Hitchcock .” (Wikipedia)
• First Reformed. Critic notes explicit references to Bergman's Winter Light in First Reformed. (via Winter Light) “Shrader even throws in references to Ingmar Bergman's "Winter Light" and Andrei Tarkovsky's "The Sacrifice" for good measure.” (Fresh Air (NPR/WHYY))
• Stephen Sondheim. Smiles of a Summer Night (Ingmar Bergman) — culture for Stephen Sondheim (via Smiles of a Summer Night) “Martin Gottfried wrote, "Follies is truly awesome and, if it is not consistently good, it is always great." ==== A Little Night Music ==== A Little Night Music (1973), based on Ingmar Bergman's Smiles of a Summer Night and with a score p…” (en.wikipedia.org)
• A Little Night Music. The musical was based on Bergman’s film. (via Smiles of a Summer Night) “A Little Night Music (1973), based on Ingmar Bergman 's Smiles of a Summer Night and with a score primarily in waltz time , was among Sondheim's greatest commercial successes.” (Wikipedia)
• Breaking the Waves by Lars von Trier (1996). Breaking the Waves (Lars von Trier) — legacy for Ingmar Bergman (themoviedb.org)
• Hereditary by Ari Aster (2018). Hereditary (Ari Aster) — legacy for Ingmar Bergman (themoviedb.org)
• Bob Fosse (1927). The Seventh Seal (Ingmar Bergman) — culture for Bob Fosse (via The Seventh Seal) (themoviedb.org)