Ingrid Bergman (1) (1915–1982)
Autore di Ingrid Bergman: la mia storia
Per altri autori con il nome Ingrid Bergman, vedi la pagina di disambiguazione.
Sull'Autore
Fonte dell'immagine: Courtesy of the NYPL Digital Gallery (image use requires permission from the New York Public Library)
Opere di Ingrid Bergman
Opere correlate
The Colgate Comedy Hour: Abbott & Costello Christmas Show [1952 TV episode] (1988) — Actor — 8 copie
Hedda Gabler [1962 TV movie] — Actor — 2 copie
Etichette
Informazioni generali
- Altri nomi
- BERGMAN, Ingrid
- Data di nascita
- 1915-08-29
- Data di morte
- 1982-08-29
- Luogo di sepoltura
- Cremated (ashes scattered at sea)
- Sesso
- female
- Nazionalità
- Sweden
- Luogo di nascita
- Stockholm, Sweden
- Luogo di morte
- London, England, UK
- Luogo di residenza
- California, USA
Rome, Italy - Istruzione
- Royal Dramatic Theatre School, Stockholm
- Attività lavorative
- actor
- Relazioni
- Rossellini, Roberto (former husband)
Rossellini, Isabella (daughter) - Premi e riconoscimenti
- Academy Award (Best Actress 1944, 1956)
Academy Award (Best Supporting Actress 1974)
Utenti
Recensioni
Premi e riconoscimenti
Potrebbero anche piacerti
Autori correlati
Statistiche
- Opere
- 3
- Opere correlate
- 34
- Utenti
- 481
- Popolarità
- #51,317
- Voto
- 4.2
- Recensioni
- 2
- ISBN
- 41
- Lingue
- 9
- Preferito da
- 1
It’s is not a quick, slick, tell-all but a real memoir and portrait of an artist. It’s long—over 550 pages of tiny, old-school packed-on-the-page type—but there isn’t a scene I would cut. The story of her marriages, her career, her strained relationship with her oldest daughter, and her health scares are all told as well as could be by any skilled novelist. It’s also a great evocation of the age of Selznick and the studios. Bergman wisely shares the credit with Alan Burgess, whose traditional biographical narrative is interpolated throughout Bergman’s recounting of her life. The reader gets a real sense of Bergman as a person—or, probably more accurately, “Bergman,” since only she knows the real person. There’s something here reminiscent of The Picture of Dorian Gray—the idea that people are more real when they are onstage than when they are off and one person’s struggle to make her offstage life as fulfilling and meaningful. It doesn’t work for Sybil Vane, but it seems to have done so for Bergman.… (altro)