Ingmar Bergman is no longer making films about God and the devil, or expressionistic jousts between man and the unknown. A new Bergman movie is apt to seem more like a simple cry for human understanding. Mellower than he used to be, Bergman at the same time is perhaps even more prolific, and within the next few months his new concern with people will be seen not only in a new film, but on the stage, on television and in print.
This week The New Yorker is publishing the 12,000-word scenario written by Bergman...
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