Cinematic Romance: My Review of Liv & Ingmar

B Film history documentary

  • Directed by Dheeraj Akolkar

Ingmar Bergman and Liv Ullmann comprise one of the great teams in film history. Their collaborations include Persona, Cries & Whispers, Scenes From a Marriage, and Autumn Sonata. As a romantic couple, they lasted only five years. But their artistic collaboration, and their friendship, lasted nearly 40, until Bergman’s death.

Dheeraj Akolkar tells the story of that romance and friendship (but not much about the collaboration) in this concise, interesting, but flawed 83-minute documentary.

Actually, Akolkar doesn’t really tell the story. He points his camera at Ullmann, and lets her do the talking. We occasionally hear Bergman’s letters to Ullmann, read by an actor, but there’s no question that this is Ullmann’s version of the relationship.

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And no, she doesn’t come off as angry, even though she has good reason to feel that way. The two met in 1965, when the famed director cast her in Persona. She was 25; him, 46. They were both married. But they fell in love on the set, and she became pregnant with his child. They divorced their respective spouses and she moved in with him on his private Scandinavian island.

She never uses the words, but it’s clear from what she says that Bergman was a domineering and abusive lover. He kept a close eye on her and severely restricted her ability to socialize with other people–even the close friends with whom they made great films. He was often cruel to her when shooting those films. That’s all the more shocking considering his reputation for keeping a happy set.

She eventually left him, but they remained friends, and she remained an important member of his repertory company. She became an international star, lived briefly in Hollywood, but was always ready to work for Bergman. She even directed Faithless, a film he wrote late in life.

Hallvard Bræin’s camera spends most of the documentary watching Ullmann’s face , imagestill attractive in her mid-70s, as she talks about her past. She speaks in English, which is odd for a Norwegian film about a Norwegian actor who spent most of her carrier in Sweden.

When we’re not watching today’s Ullmann talk, Akolkar uses clips from Bergman’s film to illustrate the behind-the-camera emotions. For instance, after Ullmann discusses the growing restlessness of their relationship, he shows us a scene (I’m not sure from what movie) where Ullmann and Max von Sydow have an argument at the breakfast table. The technique is effective, but also a little odd. We’re looking at von Sydow and hearing about Bergman.

Akolkar never identifies the films. If you don’t know them, you’re stuck wondering.

Which brings us to Liv & Ingmar‘s biggest flaw: It’s not much interested in Bergman’s and Ullmann’s work. What makes their relationship more interesting than Dick and Jane’s? The fact that they’re Ingmar Bergman and Liv Ullmann. What was it like to be directed by a cinematic icon–especially one who’s also your once-abusive ex-lover? But if Ullmann talked extensively about working together, it all ended up on the cutting room floor.

As the story of a love affair and a long friendship, Liv & Ingmar proves interesting. But it misses the main point. How, in the various stages of their relationship, did they collaborate on such great works of art?