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  • Ingrid Bergman was a Swedish actress who starred in a variety of European and American films.

  • She won three Academy Awards, two Emmy Awards, four Golden Globe Awards and the Tony Award

  • for Best Actress. She is ranked as the fourth greatest female star of American cinema of

  • all time by the American Film Institute. She is best remembered for her roles as Ilsa Lund

  • in Casablanca, a World War II drama co-starring Humphrey Bogart, and as Alicia Huberman in

  • Notorious, an Alfred Hitchcock thriller co-starring Cary Grant.

  • Before becoming a star in American films, she had been a leading actress in Swedish

  • films. Her first introduction to U.S. audiences came with her starring role in the English-language

  • remake of Intermezzo in 1939. In the United States, she brought to the screen a "Nordic

  • freshness and vitality", along with exceptional beauty and intelligence, and according to

  • the St. James Encyclopedia of Popular Culture, she quickly became "the ideal of American

  • womanhood" and one of Hollywood's greatest leading actresses.

  • After her performance in Victor Fleming's remake of Dr. Jekyll and Mr. Hyde in 1941,

  • she was noticed by her future producer David O. Selznick, who called her "the most completely

  • conscientious actress" he had ever worked with. He started her with a one-film role

  • at her insistence, then signed a four-film contract rather than the typical seven-year

  • acting contracts typically signed with foreign actors at that time, thereby supporting her

  • continued success. A few of her other starring roles, besides Casablanca, included For Whom

  • the Bell Tolls, Gaslight, The Bells of St. Mary's, Alfred Hitchcock's Spellbound, Notorious,

  • and Under Capricorn, and the independent production Joan of Arc.

  • In 1950, after a decade of stardom in American films, she starred in the Italian film Stromboli,

  • which led to a love affair with director Roberto Rossellini while they were both already married.

  • The affair and then marriage with Rossellini created a scandal that forced her to remain

  • in Europe until 1956, when she made a successful Hollywood return in Anastasia, for which she

  • won her second Academy Award, as well as the forgiveness of her fans. Many of her personal

  • and film documents can be seen in the Wesleyan University Cinema Archives.

  • Early years: 1915–38

  • Bergman, named after Princess Ingrid of Sweden, was born in Stockholm, on 29 August 1915 to

  • a Swedish father, Justus Samuel Bergman, and his German wife, Frieda Henrietta "Friedel"

  • Bergman. When she was three years of age, her mother died. Her father, who was an artist

  • and photographer, died when she was thirteen. In the years before he died, he wanted her

  • to become an opera star, and had her take voice lessons for three years. But she always

  • "knew from the beginning that she wanted to be an actress," sometimes wearing her mother's

  • clothes and staging plays in her father's empty studio. Her father documented all her

  • birthdays with a borrowed camera.

  • After his death, she was sent to live with an aunt, who died of heart disease only six

  • months later. She then moved in with her Aunt Hulda and Uncle Otto, who had five children.

  • Another aunt she visited, Elsa Adler, first told Ingrid, when she was 11, that her mother

  • may have "some Jewish blood," and that her father was aware of that fact long before

  • they married. But her aunt also cautioned her about telling others about her possible

  • ancestry as "there might be some difficult times coming."

  • At 17, in 1932, Bergman was allowed only one chance to become an actress by entering an

  • acting competition with the Royal Dramatic Theatre in Stockholm. Bergman recalls her

  • feelings during that competition:

  • As I walked off the stage, I was in mourning, I was at a funeral. My own. It was the death

  • of my creative self. My heart had truly broken... they didn't think I was even worth listening

  • to, or watching.

  • Her impression was wrong, as she later met one of the judges who described how the others

  • viewed her performance:

  • We loved your security and your impertinence. We loved you and told each other that there

  • was no reason to waste time as there were dozens of other entrants still to come. We

  • didn't need to waste any time with you. We knew you were a natural and great. Your future

  • as an actress was settled.

  • As a result she received a scholarship to the state-sponsored Royal Dramatic Theatre

  • School, where Greta Garbo had years earlier earned a similar scholarship. After several

  • months she was given a part in a new play, Ett Brott, written by Sigfrid Siwertz. Chandler

  • notes that this was "totally against procedure" at the school, where girls were expected to

  • complete three years of study before getting such acting roles.

  • During her first summer break, she was also hired by a Swedish film studio, which led

  • to her leaving the Royal Dramatic Theatre after just one year, to work in films full-time.

  • Her first film role after leaving the Royal Dramatic Theatre was a small part in 1935's

  • Munkbrogreven. She went on to act in a dozen films in Sweden, including En kvinnas ansikte,

  • which was later remade as A Woman's Face with Joan Crawford, and one film in Germany, Die

  • vier Gesellen. Hollywood period: 1939–49

  • Intermezzo: A Love Story Bergman's first acting role in the United

  • States came when Hollywood producer David O. Selznick brought her to America to star

  • in Intermezzo: A Love Story, an English language remake of her 1936 Swedish film, Intermezzo.

  • Unable to speak English and uncertain about her acceptance by the American audience, she

  • expected to complete this one film and return home to Sweden. Her husband, Dr. Petter Lindström,

  • remained in Sweden with their daughter Pia. In the film she played the role of a young

  • piano accompanist opposite Leslie Howard as a famous violin virtuoso.

  • She arrived in Los Angeles on 6 May 1939, and stayed at the Selznick home until she

  • could find another residence. According to Selznick's son, Danny, who was a child at

  • the time, his father had a few concerns about Ingrid: "She didn't speak English, she was

  • too tall, her name sounded too German, and her eyebrows were too thick." Bergman was

  • soon accepted without having to modify her looks or name, despite some early suggestions

  • by Selznick. "He let her have her way," notes a story in Life Magazine. Selznick understood

  • her fear of Hollywood make-up artists, who might turn her into someone she wouldn't recognize,

  • and "instructed them to lay off." He was also aware that her natural good looks would compete

  • successfully with Hollywood's "synthetic razzle-dazzle." During the weeks following, while Intermezzo

  • was being filmed, Selznick was also filming Gone with the Wind. In a letter to William

  • Hebert, his publicity director, Selznick described a few of his early impressions of Bergman:

  • Miss Bergman is the most completely conscientious actress with whom I have ever worked, in that

  • she thinks of absolutely nothing but her work before and during the time she is doing a

  • picture ... She practically never leaves the studio, and even suggested that her dressing

  • room be equipped so that she could live here during the picture. She never for a minute

  • suggests quitting at six o'clock or anything of the kind ... Because of having four stars

  • acting in Gone with the Wind, our star dressing-room suites were all occupied and we had to assign

  • her a smaller suite. She went into ecstasies over it and said she had never had such a

  • suite in her life ... All of this is completely unaffected and completely unique and I should

  • think would make a grand angle of approach to her publicity ... so that her natural

  • sweetness and consideration and conscientiousness become something of a legend ... and is completely

  • in keeping with the fresh and pure personality and appearance which caused me to sign her.

  • Intermezzo became an enormous success and as a result Bergman became a star. The film's

  • director, Gregory Ratoff, said "She is sensational," as an actress. This was the "sentiment of

  • the entire set," writes Life, adding that workmen would go out of their way to do things

  • for her, and the cast and crew "admired the quick, alert concentration she gave to direction

  • and to her lines." Film historian David Thomson notes that this would become "the start of

  • an astonishing impact on Hollywood and America" where her lack of makeup contributed to an

  • "air of nobility." According to Life, the impression that she left on Hollywood, after

  • she returned to Sweden, was of a tall girl "with light brown hair and blue eyes who was

  • painfully shy but friendly, with a warm, straight, quick smile." Selznick appreciated her uniqueness,

  • and with his wife Irene, they remained important friends throughout her career.

  • Casablanca After the onset of World War II, Bergman "felt

  • guilty because she had so misjudged the situation in Germany" while she was there filming Die

  • vier Gesellen. According to one of her biographers, Charlotte Chandler, she had at first considered

  • the Nazis only a "temporary aberration, 'too foolish to be taken seriously.' She believed

  • Germany would not start a war." Bergman felt that "The good people there would not permit

  • it." Chandler adds, "Ingrid felt guilty all the rest of her life because when she was

  • in Germany at the end of the war, she had been afraid to go with the others to witness

  • the atrocities of the Nazi extermination camps." After completing one last film in Sweden and

  • appearing in three moderately successful films in the United States, Bergman co-starred with

  • Humphrey Bogart in the 1942 classic film Casablanca, which remains her best-known role. In this

  • film, she played the role of Ilsa, the beautiful Norwegian wife of Victor Laszlo, played by

  • Paul Henreid, an "anti-Nazi underground hero" who is in Casablanca, a safe-haven from the

  • Nazis. Bergman did not consider Casablanca to be one of her favorite performances. "I

  • made so many films which were more important, but the only one people ever want to talk

  • about is that one with Bogart." In later years she stated, "I feel about Casablanca that

  • it has a life of its own. There is something mystical about it. It seems to have filled

  • a need, a need that was there before the film, a need that the film filled."

  • For Whom the Bell Tolls After Casablanca, with "Selznick's steady

  • boosting," she played the part of Maria in For Whom the Bell Tolls, which was also her

  • first color film. For the role she received her first Academy Award nomination for Best

  • Actress. The film was taken from Ernest Hemingway's novel of the same title. When the book was

  • sold to Paramount Pictures, Hemingway stated that "Miss Bergman, and no one else should

  • play the part." His opinion came from seeing her in her first American role, Intermezzo,

  • although he hadn't yet met her. A few weeks later, they did meet, and after studying her

  • he said, "You are Maria!" Gaslight

  • The following year, she won the Academy Award for Best Actress for Gaslight, a film in which

  • George Cukor directed her as a "wife driven close to madness" by co-star Charles Boyer.

  • The film, according to Thomson, "was the peak of her Hollywood glory." Bergman next played

  • a nun in The Bells of St. Mary's opposite Bing Crosby, for which she received her third

  • consecutive nomination for Best Actress. Hitchcock films

  • Bergman starred in the Alfred Hitchcock films Spellbound, Notorious, and Under Capricorn.

  • Under Capricorn, the only one of the three made in color, was a costume drama which has

  • never received the acclaim that the other films that Bergman made with Hitchcock. Bergman

  • was a student of the acting coach Michael Chekhov during the 1940s. Coincidentally,

  • it was for his role in Spellbound that Chekhov received his only Academy Award nomination.

  • Joan of Arc Bergman received another Best Actress nomination

  • for Joan of Arc, an independent film based on the Maxwell Anderson play Joan of Lorraine,

  • produced by Walter Wanger, and initially released through RKO. Bergman had championed the role

  • since her arrival in Hollywood, which was one of the reasons she had played it on the

  • Broadway stage in Anderson's play. The film was not a big hit with the public, partly

  • because of the scandal of Bergman's affair with Italian film director Roberto Rossellini,

  • which broke while the film was still in theatres. Even worse, it received disastrous reviews,

  • and although nominated for several Academy Awards, did not receive a Best Picture nomination.

  • It was subsequently shorn of 45 minutes. It was not until it was restored to full length

  • in 1998 and released in 2004 on DVD that later audiences could see it as it was intended

  • to be shown. Between motion pictures, Bergman had appeared

  • in the stage plays Liliom, Anna Christie, and Joan of Lorraine. During a press conference

  • in Washington, D.C. for the promotion of Joan of Lorraine, she protested against racial

  • segregation after seeing it first hand at the theater she was acting in. This led to

  • a lot of publicity and some hate mail. Bergman went to Alaska during World War II to entertain

  • US Army troops. Soon after the war ended, she also went to Europe for the same purpose,

  • where she was able to see the devastation caused by the war.

  • Personal life In 1937, at the age of 21, Bergman married

  • dentist Petter Aron Lindström, and they had a daughter, Friedel Pia Lindström. After

  • returning to the United States in 1940, she acted on Broadway before continuing to do

  • films in Hollywood. The following year, her husband arrived from Sweden with daughter

  • Pia. Lindström stayed in Rochester, New York, where he studied medicine and surgery at the

  • University of Rochester. Bergman would travel to New York and stay at their small rented

  • stucco house between films, her visits lasting from a few days to four months.

  • According to an article in Life Magazine, the "doctor regards himself as the undisputed

  • head of the family, an idea that Ingrid accepts cheerfully." He insisted she draw the line

  • between her film and personal life, as he has a "professional dislike for being associated

  • with the tinseled glamor of Hollywood." Lindström later moved to San Francisco, California,

  • where he completed his internship at a private hospital, and they continued to spend time

  • together when she could travel between filming. Bergman returned to Europe after the scandalous

  • publicity surrounding her affair with Italian director Roberto Rossellini during the filming

  • of Stromboli in 1950. In the same month the film was released, she gave birth to a boy,

  • Robertino Rossellini. A week after her son was born, she divorced Lindström and married

  • Rossellini in Mexico. On 18 June 1952 she gave birth to the twin daughters Isotta Ingrid

  • Rossellini and Isabella Rossellini. In 1957 she divorced Rossellini.

  • The next year she married Lars Schmidt, a theatrical entrepreneur from a wealthy Swedish

  • shipping family. That marriage lasted nearly two decades, until 1975 when they divorced.

  • During her marriage with Lindstrom, Bergman had a brief affair with Spellbound costar

  • Gregory Peck. Unlike the affair with Rossellini, that with Peck was kept private until he confessed

  • it to Brad Darrach of People in an interview five years after Bergman's death. Peck said,

  • All I can say is that I had a real love for her, and I think that’s where I ought

  • to stop…. I was young. She was young. We were involved for weeks in close and intense

  • work.” Italian period with Rossellini: 1949–57

  • Bergman strongly admired two films by Italian director Roberto Rossellini that she had seen

  • in the United States. In 1949, Bergman wrote to Rossellini, expressing this admiration

  • and suggesting that she make a film with him. This led to her being cast in his film Stromboli.

  • During production, Bergman fell in love with Rossellini, and they began an affair. Bergman

  • became pregnant with their son, Renato Roberto Ranaldo Giusto Giuseppe Rossellini.

  • This affair caused a huge scandal in the United States, where it led to Bergman being denounced

  • on the floor of the United States Senate. Ed Sullivan chose not to have her on his show,

  • despite a poll indicating that the public wanted her to appear. However, Steve Allen,

  • whose show was equally popular, did have her on, later explaining "the danger of trying

  • to judge artistic activity through the prism of one's personal life." Spoto notes that

  • Bergman had, by virtue of her roles and screen persona, placed herself "above all that".

  • She had played a nun in The Bells of St. Mary's and a virgin saint in Joan of Arc. Bergman

  • later said, "People saw me in Joan of Arc and declared me a saint. I'm not. I'm just

  • a woman, another human being." As a result of the scandal, Bergman returned

  • to Italy, leaving her husband and daughter. She went through a publicized divorce and

  • custody battle for their daughter. Bergman and Rossellini were married on 24 May 1950.

  • In addition to Renato, they had twin daughters: Isabella Rossellini, who became an actress

  • and model, and Isotta Ingrid Rossellini, who became a professor of Italian literature.

  • Stromboli and "neorealism"

  • Rossellini completed five films starring Bergman between 1949 and 1955: Stromboli, Europa '51,

  • Viaggio in Italia, Giovanna d'Arco al rogo, and La Paura.

  • Rossellini directed her in a brief segment of his 1953 documentary film, Siamo donne,

  • which was devoted to film actresses. His biographer Peter Bondanella notes that problems with

  • communication during their marriage may have inspired his films' central themes of "solitude,

  • grace and spirituality in a world without moral values."

  • Rossellini's use of a Hollywood star in his typically "neorealist" films, in which he

  • normally used non-professional actors, did provoke some negative reactions in certain

  • circles. In Bergman's first film with Rossellini, her character was "defying audience expectations"

  • in that the director preferred to work without a script, forcing Bergman to act "inspired

  • by reality while she worked,, a style which Bondanella calls "a new cinema of psychological

  • introspection." Bergman was aware of Rossellini's directing style before filming, as the director

  • had earlier written to her explaining that he worked from "a few basic ideas, developing

  • them little by little" as a film progressed. After separating from Rossellini, Bergman

  • starred in Jean Renoir's Elena and Her Men, a romantic comedy in which she played a Polish

  • princess caught up in political intrigue. Although the film wasn't a success, it has

  • since come to be regarded as one of her best performances.

  • Later years: 1957–82 Anastasia

  • With her starring role in 1956's Anastasia, Bergman made a triumphant return to the American

  • screen and won the Academy Award for Best Actress for a second time. The award was accepted

  • for her by her friend Cary Grant. Bergman made her first post-scandal public

  • appearance in Hollywood in the 1958 Academy Awards, when she was the presenter of the

  • Academy Award for Best Picture. She was given a standing ovation, after being introduced

  • by Cary Grant and walking out onto the stage to present the award. She continued to alternate

  • between performances in American and European films for the rest of her career and also

  • made occasional appearances in television dramas such as a 1959 production of The Turn

  • of the Screw for the Ford Startime TV seriesfor which she won the Emmy Award for Outstanding

  • Single Performance by an Actress. During this time, she performed in several

  • stage plays. She married producer Lars Schmidt, a fellow Swede, on 21 December 1958. This

  • marriage ended in divorce in 1975. Schmidt died on 18 October 2009. After a long hiatus,

  • Bergman made the film Cactus Flower in 1969, with Walter Matthau and Goldie Hawn.

  • In 1972, U.S. Senator Charles H. Percy entered an apology into the Congressional Record for

  • the attack made on Bergman 22 years earlier by Edwin C. Johnson.

  • Bergman was the President of the Jury at the 1973 Cannes Film Festival.

  • Murder on the Orient Express Bergman became one of the few actresses ever

  • to receive three Oscars when she won her third for her performance in Murder on the Orient

  • Express. Director Sidney Lumet offered Bergman the important part of Princess Dragomiroff,

  • with which he felt she could win an Oscar. She insisted on playing the much smaller role

  • of Greta Ohlsson, the old Swedish missionary. Lumet discussed Bergman's role:

  • "She had chosen a very small part, and I couldn't persuade her to change her mind. She was sweetly

  • stubborn. But stubborn she was... Since her part was so small, I decided to film her one

  • big scene, where she talks for almost five minutes, straight, all in one long take. A

  • lot of actresses would have hesitated over that. She loved the idea and made the most

  • of it. She ran the gamut of emotions. I've never seen anything like it."

  • Bergman could speak Swedish, German, English, Italian and French. She acted in each of these

  • languages at various times. Fellow actor John Gielgud, who had acted with her in Murder

  • on the Orient Express and who had directed her in the play The Constant Wife, playfully

  • commented: "She speaks five languages and can't act in any of them."

  • Although known chiefly as a film star, Bergman strongly admired the great English stage actors

  • and their craft. She had the opportunity to appear in London's West End, working with

  • such stage stars as Michael Redgrave in A Month in the Country, Sir John Gielgud in

  • The Constant Wife and Wendy Hiller in Waters of the Moon.

  • Autumn Sonata

  • In 1978, Bergman played in Ingmar Bergman's Autumn Sonata for which she received her 7th

  • Academy Award nomination. This was her final performance on the big screen. In the film,

  • Bergman plays a celebrity pianist who travels to Norway to visit her neglected daughter,

  • played by Liv Ullmann. The film was shot in Norway.

  • In 1979, Bergman hosted the AFI's Life Achievement Award Ceremony for Alfred Hitchcock.

  • A Woman Called Goldaher final role In 1982 she was offered the starring role

  • in a television mini-series, A Woman Called Golda, about the late Israeli prime minister

  • Golda Meir. It was to be her final acting role and she was honored posthumously with

  • a second Emmy Award for Best Actress. Her daughter, Isabella, described Ingrid's surprise

  • at being offered the part and the producer trying to explain to her, "People believe

  • you and trust you, and this is what I want, because Golda Meir had the trust of the people."

  • Isabella adds, "Now that was interesting to Mother." She was also persuaded that Golda

  • was a "grand-scale person," one that people would assume was much taller than she actually

  • was. Chandler notes that the role "also had a special significance for her, as during

  • World War II, Ingrid felt guilty because she had so misjudged the situation in Germany."

  • According to Chandler, "Ingrid's rapidly deteriorating health was a more serious problem. Insurance

  • for Ingrid was impossible. Not only did she have cancer, but it was spreading, and if

  • anyone had known how bad it was, no one would have gone on with the project." After viewing

  • the series on TV, Isabella commented,

  • She never showed herself like that in life. In life, Mum showed courage. She was always

  • a little vulnerable, courageous, but vulnerable. Mother had a sort of presence, like Golda,

  • I was surprised to see it ... When I saw her performance, I saw a mother that I'd never

  • seen beforethis woman with balls.

  • Bergman was frequently ill during the filming although she rarely complained or showed it.

  • Four months after the filming was completed, she died. After her death her daughter Pia

  • accepted her Emmy. Death and legacy

  • Bergman died in 1982 on her 67th birthday in London, from breast cancer. Her body was

  • cremated at Kensal Green Cemetery, London, and her ashes taken to Sweden. Most of them

  • were scattered in the sea around the islet of Dannholmen off the fishing village of Fjällbacka

  • in Bohuslän, on the west coast of Sweden, where she spent most of the summers from 1958

  • until her death in 1982. The rest were placed next to her parents' ashes in Norra Begravningsplatsen,

  • Stockholm, Sweden. According to biographer Donald Spoto, she

  • was "arguably the most international star in the history of entertainment." Acting in

  • five languages, she was seen on stage, screen and television, and won three Academy Awards

  • plus many others. After her American film debut in the 1939 film Intermezzo: A Love

  • Story, co-starring Leslie Howard, Hollywood saw her as a unique actress who was completely

  • natural in style and without need of makeup. Film critic James Agee wrote that she "not

  • only bears a startling resemblance to an imaginable human being; she really knows how to act,

  • in a blend of poetic grace with quiet realism." According to film historian David Thomson,

  • she "always strove to be a 'true' woman", and many filmgoers identified with her:

  • There was a time in the early and mid-1940s when Bergman commanded a kind of love in America

  • that has been hardly ever matched. In turn, it was the strength of that affection that

  • animated the "scandal" when she behaved like an impetuous and ambitious actress instead

  • of a saint.

  • Writing about her first years in Hollywood, Life magazine stated that "All Bergman vehicles

  • are blessed," and "they all go speedily and happily, with no temperament from the leading

  • lady." She was "completely pleased" with her early career's management by David O. Selznick,

  • who always found excellent dramatic roles for her to play, and equally satisfied with

  • her salary, once saying, "I am an actress and I am interested in acting, not in making

  • money." Life adds that "she has greater versatility than any actress on the American screen ...

  • her roles have demanded an adaptability and sensitiveness of characterization to which

  • few actresses could rise." She continued her acting career while suffering

  • from cancer for eight years, and won international honors for her final roles. "Her spirit triumphed

  • with remarkable grace and courage," adds Spoto. Director George Cukor once summed up her contributions

  • to the film media when he said to her, "Do you know what I especially love about you,

  • Ingrid, my dear? I can sum it up as your naturalness. The camera loves your beauty, your acting,

  • and your individuality. A star must have individuality. It makes you a great star. A great star."

  • For her contributions to the motion picture industry, Bergman has a star on the Hollywood

  • Walk of Fame at 6759 Hollywood Blvd. Woody Guthrie wrote the erotic song "Ingrid

  • Bergman," which references Bergman's relationship with Roberto Rosselini on the film "Stromboli."

  • It was never recorded by Guthrie but, when later found in the Woody Guthrie archives,

  • it was set to music, and recorded, by Billy Bragg on the album Mermaid Avenue.

  • Autobiography

  • In 1980, Bergman's autobiography was published under the title Ingrid Bergman: My Story.

  • It was written with the help of Alan Burgess, and in it she discusses her childhood, her

  • early career, her life during her time in Hollywood, the Rossellini scandal, and subsequent

  • events. The book was written after her children warned her that she would only be known through

  • rumors and interviews if she did not tell her own story. It was through this autobiography

  • that her affair with Robert Capa became known. Awards

  • Bergman won three Academy Awards for acting, two for Best Actress and one for Best Supporting

  • Actress. She ranks in equal second place in terms of Oscars won, with Walter Brennan,

  • Jack Nicholson, Meryl Streep, and Daniel Day-Lewis. Katharine Hepburn still leads the record with

  • four. Filmography

  • Notes

  • References Bergman, Ingrid; Burgess, Alan. Ingrid Bergman:

  • My Story. New York: Delacorte Press. ISBN 0-440-03299-7.  Chandler, Charlotte. Ingrid: Ingrid Bergman,

  • A Personal Biography. New York: Simon & Schuster. ISBN 0-7432-9421-1. 

  • Leamer, Laurence. As Time Goes By: The Life of Ingrid Bergman. New York: Harper & Row.

  • ISBN 0-06-015485-3.  Dagrada, Elena. Le Varianti Trasparenti. I

  • Film con Ingrid Bergman di Roberto Rossellini. Milano: LED Edizioni Universitarie. ISBN 978-88-7916-410-8. 

  • Ziolkowska-Boehm, Aleksandra. Ingrid Bergman prywatnie. Warsaw: Proszynski. ISBN 978-83-7839-518-8. 

  • Ziolkowska-Boehm, Aleksandra. Ingrid Bergman and her American Relatives. Lanham, MD: Hamilton

  • Books. ISBN 978-0-7618-6150-8.  External links

  • Biographical profiles Ingrid Bergman at the Internet Movie Database

  • Ingrid Bergman at the TCM Movie Database Ingrid Bergman at the Internet Broadway Database

  • TCM Confidential: Ingrid Bergman Official sites

  • Ingrid Bergman site run by CMG Ingrid Bergman Collection at Wesleyan University

  • Ingrid Bergman site run by Schirmer/Mosel Publishers Munich

  • Interviews 1943 New York Times Interview

  • Larry King transcript with Ingrid Bergman's daughters on the 60th anniversary of Casablanca

  • Excerpt from Isabella Rossellini's Some of Me that describes Ingrid Bergman's passion

  • for cleaning Trailer from Isabella Rossellini's Ingrid

  • Bergman A Life in Pictures Videos

  • (French) Television interview by Radio-Canada reporter Judith Jasmin on 15 July 1957

  • (French) Television interview on JT 20H on 22 February 1959

  • (French) Television interview by France Roche on Cinépanorama on 19 November 1960

  • Audios Radio rich media may be found in the radio

  • credits table. Ingrid Bergman's Spoken Word Version of The

  • Pied Piper of Hamelin Audio Recording of Ingrid Bergman in the NY

  • Production of More Stately Mansions Other

  • Photographs and bibliography Photos of Ingrid Bergman in 'Spellbound' by

  • Ned Scott

Ingrid Bergman was a Swedish actress who starred in a variety of European and American films.

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