Ingrid Bergman Biography Quotes 19 Report mistakes

Early Life and Education
Ingrid Bergman was born in 1915 in Stockholm, Sweden, to Justus Bergman, a Swedish photographer, and Frieda, a German mother. Her childhood was marked by early loss; her mother died when Ingrid was very young, and her father passed away during her adolescence. After a period in the care of relatives, she found refuge in performance, winning admission to the Royal Dramatic Theatre School in Stockholm. The training emphasized naturalism and clarity of gesture and voice, qualities that would become hallmarks of her screen presence.

Swedish Screen Beginnings
While still a student, she began appearing in Swedish films under directors such as Gustaf Molander. Her roles in films including Intermezzo (1936) established a persona distinct from Hollywood glamour of the era: fresh-faced, emotionally transparent, and largely free of heavy makeup. This authenticity, coupled with her command of the camera, drew international interest and led producer David O. Selznick to invite her to Hollywood for an English-language remake of Intermezzo.

Hollywood Breakthrough
Arriving in the United States in the late 1930s, Bergman made Intermezzo: A Love Story (1939) opposite Leslie Howard, a breakthrough that introduced her to American audiences. Selznick promoted her carefully, but she resisted changing her name or heavily altering her appearance. Her fluency in nuance, along with remarkable screen intelligence, positioned her for some of the defining films of the 1940s.

Wartime Stardom and Signature Roles
Bergman reached international stardom with Casablanca (1942), directed by Michael Curtiz, playing Ilsa Lund opposite Humphrey Bogart. She followed with For Whom the Bell Tolls (1943) with Gary Cooper and Gaslight (1944) with Charles Boyer and Angela Lansbury, the latter earning her a first Academy Award for Best Actress. Additional celebrated work included The Bells of St. Mary's (1945) with Bing Crosby.

Collaboration with Alfred Hitchcock
Her partnership with Alfred Hitchcock produced a trio of distinctive films: Spellbound (1945) with Gregory Peck, Notorious (1946) with Cary Grant, and Under Capricorn (1949) with Joseph Cotten. Hitchcock utilized her poise and interiority, often placing her characters at the intersection of romance and psychological suspense. Notorious, in particular, remains a landmark for the intricate chemistry among Bergman, Grant, and Hitchcock.

Stage Work and Joan of Arc
On Broadway, Bergman starred in Maxwell Anderson's Joan of Lorraine (1946, 47), earning a Tony Award. She later brought the role to the screen in Joan of Arc (1948), directed by Victor Fleming. Though the film met a mixed commercial fate, her dedication to the part deepened her reputation for serious dramatic commitment.

Italian Period and Public Controversy
In the late 1940s, Bergman wrote to the Italian director Roberto Rossellini, drawn by his neorealist films. Their collaboration on Stromboli (1950) led to a romantic relationship while she was still married to the Swedish physician Petter Lindstrom, with whom she had a daughter, Pia. The ensuing scandal, heavily amplified in the United States and even denounced in political forums, led her to work largely in Europe for several years. With Rossellini she made a series of films, including Europa '51 (1952), Journey to Italy (1954), and Fear (1954). The marriage to Lindstrom ended; she married Rossellini and had three children, including the future actress and model Isabella Rossellini. Their artistic projects were initially controversial but later recognized as foundational to modern European cinema. The marriage to Rossellini eventually ended.

Return to Hollywood and International Work
Bergman returned to American screens with Anastasia (1956), directed by Anatole Litvak and produced by Buddy Adler, co-starring Yul Brynner and Helen Hayes. The role restored her to favor with American audiences and brought her a second Academy Award. She remained globally active, working in France with Jean Renoir on Elena and Her Men (1956), in Britain on The Inn of the Sixth Happiness (1958), and again with Litvak on Goodbye Again (1961) with Yves Montand and Anthony Perkins. She also appeared in Cactus Flower (1969) with Walter Matthau and Goldie Hawn, showing a deft touch for comedy.

Later Collaborations and Honors
Bergman continued to balance film, stage, and television. In the 1970s she gave a delicate, morally complicated performance in Murder on the Orient Express (1974), directed by Sidney Lumet from Agatha Christie's novel, earning a third Academy Award, this time for Best Supporting Actress. She then undertook one of her most demanding late roles in Autumn Sonata (1978), directed by Ingmar Bergman (no relation), opposite Liv Ullmann. The film's mother-daughter confrontation was widely praised, and her work earned further awards recognition.

Television and Stage
Parallel to her film career, Bergman returned repeatedly to the stage and to television. She won an Emmy for a television adaptation of The Turn of the Screw in 1960, reaffirming her ability to carry intimate, psychologically intricate drama. Her final performance came as the Israeli leader Golda Meir in A Woman Called Golda (1982), a role undertaken while she was ill; it earned her a posthumous Emmy.

Personal Life
Bergman's personal life unfolded across several countries. She married Petter Lindstrom in the 1930s and had her first child, Pia. Her marriage to Roberto Rossellini brought both collaboration and public scrutiny, and they had a son and twin daughters, including Isabella Rossellini. Later she married the Swedish producer Lars Schmidt, remaining connected to Scandinavian theatre and international productions. Colleagues such as David O. Selznick, Alfred Hitchcock, Roberto Rossellini, Michael Curtiz, Cary Grant, Humphrey Bogart, Gregory Peck, and Bing Crosby were instrumental in shaping the arcs of her career.

Final Years and Legacy
Ingrid Bergman died in 1982 in London after living for some time with cancer. She left a body of work that crossed languages and borders, from Swedish early features and Hollywood classics to Italian modernism and British and French productions. Celebrated for bringing a rare blend of candor and radiance to the screen, she became a touchstone for later generations of actors. Her three Academy Awards, Tony, and multiple Emmys testify to a range that encompassed romantic drama, psychological suspense, comedy, and political biography. Even more enduring is the quality that first distinguished her in Stockholm: a lucid, truthful presence that anchored some of the most memorable films in cinema history.

Our collection contains 19 quotes who is written by Ingrid, under the main topics: Witty One-Liners - Art - Work Ethic - Mortality - Movie.

Other people realated to Ingrid: Walter Reisch (Scientist), Robert Capa (Photographer), Jean Renoir (Director), Francoise Sagan (Playwright), Anna Magnani (Actress), Conrad Veidt (Actor), Gary Cooper (Actor), Albert Finney (Actor), Vincente Minnelli (Director), Hedda Hopper (Actress)

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