「彼は巨大だった」イングリッド・バーグマンがすべてを告白
He was massive. Ingred Bergman confesses everything in her memoir. Ingred Bergman was born on August 29th, 1915 in Stockholm, Sweden. She grew up in a world far removed from the glitter show business. Her early life was marked by tragedy. She lost her mother at the age of three and her beloved father photographer who had instilled in her an early love of images and performance died when she was just 12, orphaned and shy. She was raised by relatives, but found her escape and her calling on the stage. Despite her quiet demeanor, Bergman displayed early on extraordinary ability to express emotion and she pursued acting with unwavering determination. She studied at the prestigious Royal Dramatic Theater School in Stockholm, which had also trained Greta Garbo, another Swedish legend. Her talent quickly set her apart and before long, she was appearing in Swedish films where her luminous presence and natural acting style drew. Critical acclaim. One of her early breakthrough roles came in 1936. Swedish film intermed which would later catapult her to international stardom when it was remade in Hollywood in 1939 at the invitation of producer David Bergman arrived in Hollywood to star in the American version of intermetso. A love story opposite Lesie Howard with her soft unaffected beauty gentle accent and sincere performances. She stood in stark contrast to the more stylized stars of the day. Audiences were captivated and Ingred quickly became one of the most soughtafter actresses of the early 1940s. Her rise was swift and dazzling over the next few years. She starred in a string of classic films that showcase her range and emotional depth. Among her most iconic performances was her role as Illoon in Casablanca 1942 opposite Humphrey. Bogart the film has since become one of the most beloved in cinema history and Bergman’s portrayal of woman torn between love and duty is central to its enduring appeal. Her radiant face especially in the poignant scenes at Rick’s cafe is forever etched in the memory of moviegoers worldwide. Bergman’s work during this period earned her widespread acclaim and multiple Academy Award nominations in 1944. She won her first Academy Award for best actress for a riveting performance in Gaslight, where she portrayed a woman slowly driven to believe she’s going insane. The psychological intensity and vulnerability she brought to the role displayed her remarkable dramatic skill. This was followed by other memorable roles including in Alfred Hitchcock’s notorious 1946 where she starred opposite Carrie Grant in a complex tale of espionage passion and betrayal once again proving her ability to command the screen with elegance and emotional truth. She followed her heart and moved to Italy collaborated with Rosalini on a series of neo-realist films including Stromboli 1950 Europa 51 and Journey to Italy. While these films were not commercial hits at the time, they were later recognized for their influence on modern cinema and their bold experimentation after several years abroad. Bergman made a triumphant return to American cinema in 1956 with a performance in Anastasia for which she won her second Academy Award. This time a symbolic welcome back from the industry that had once shunned her. She continued to act in both European and American films, proving herself time and again as one of the most versatile and fearless actresses of her generation. She also received a claim on the stage and in television including her Emmy-winning performance in a woman called Gulo where she portrayed Israeli Prime Minister Golder. Throughout her career, Ingred Bergman was nominated for seven Academy Awards, winning three along with two Emmy awards, a Tony Award, and countless other honors. She acted in five languages and worked with some of the greatest directors of the 20th century including Alfred Hitchcock Ingmar Bergman No Relation and Sydney Lumit. But beyond the accolades, it was her unmistakable sincerity and quiet dignity that endeared her audiences across generations. Ingred Bergman was a woman who lived boldly acted brilliantly and refused be confined by the narrow expectations of her time. Even when scandal threatened to overshadow her accomplishments, she never compromised her integrity or devotion to her craft and her personal life. She experienced profound highs and painful lows marriages, divorces, motherhood, and illness. But she faced them all with remarkable poise. Ingred Bergman, the acclaimed Swedish actress renowned for her beauty and talent, first married Peter Aaron Linam in 1937. Linam was a respected medical professional, specifically a neurosurgeon, which reflected a very different world from the glitz and glamour of Hollywood and international cinema that Bergman inhabited their marriage. While initially stable and seemingly conventional, was marked by the complexities of Bergman’s rising stardom and her increasing immersion in the film industry. Together, Ingred and Peter Lindstöm had one daughter, Pia Linesome, born in 1938, who would later become a successful television journalist and news anchor herself despite the outward appearance of traditional family. The couple’s relationship eventually became strained largely due to the demands of Bergman’s career and the personal challenges she faced as she grew older and more internationally prominent. During the late 1940s, Ingred Bergman’s life took a dramatic turn when she developed a romantic relationship with the Italian filmmaker Roberto Rosalini. Roselini was a prominent and highly influential director famous for his role in pioneering Italian neo-realist cinema. Their affair began while Bergman was still married alliance to a fact that stirred considerable scandal at the time. in this relationship was both passionate and controversial as it crossed the boundaries of societal expectations of marriage and fidelity. The affair became public. Knowledge after Bergman gave birth to Rosalini’s child, a daughter named Isabella Rosalini, born in 1952, the birth of his child, symbolized a significant rupture in Bergman’s personal life and sparked intense media scrutiny and public debate following the birth of Isabella Ingred Bergman divorced Peter Lindstöm in 1950, ending their 13-year marriage shortly thereafter. Bergman and Rosalini formalized their union by marrying in Mexico. Their marriage marked a new chapter in Bergman’s life won deeply. Entwined with Rosalini cinematic vision and Italian culture. The couple had two more children together. Roberto Ingmar Rosolini born in 1954 and ISA Ingred Roselini born in 1956. Despite their creative collaborations and the growth of their family to marriage faced numerous challenges, including professional pressures, cultural differences, and the intense public scrutiny following their earlier scandal, ultimately Bergman and Rosalini divorced in 1957, bringing to an end a complex and influential partnership that had left an indelible mark on both their personal lives and cinematic histories. In 1958, just a year after her divorce from Rosalini Ingred Bergman, married Lars. Schmidt, a Swedish theatrical entrepreneur, an Empressario Schmidt, was instrumental in promoting Bergman’s theatrical work in Europe, and their relationship provided a more stable and private personal environment for the actress. After years of public controversy, their marriage endured for nearly two decades from 1958 until 1975. During this time, Bergman balanced her career with her personal life and found support in Schmidt’s dedication to the arts and his management of theatrical productions. However, as with many long marriages, their relationship eventually came to an end in divorce, closing yet another chapter in Bergman’s complicated and multifaceted personal life. When Ingred Bergman spoke of Gregory Peak in her memoir, she didn’t merely refer to his physical stature, though that in itself was unforgettable. He was massive, she wrote. And the word echoed with far more than just a comment on his height or broad shouldered build was a statement heavy with awe, admiration, and something almost confessional as a recalling a presence that had once overwhelmed her physically. Gregory Peak was an embodiment of classic Hollywood masculinity towering over most of his contemporaries. His commanding frame often left a lasting impression on both audiences and co-stars alike. Bergman, a woman who had worked with legends across continents from Humphrey Bogart to Carrie Grant still found herself struck by the sheer presence peak exuded the moment he walked onto a set. He didn’t enter a room. She noted he filled at his physicality with statuesque almost Roman in his nobility yet was never intimidating. And there was a gentleness in his posture and elegance to his movement that softened the brute strength his body projected. But when Bergman said massive, she was also referring to his soul pecs moral compass, his quiet intensity and a profound integrity with which he carried himself. All of it added up to something enormous. He had a gravity about him. She remembered as the very air listened when he spoke. She described how during even the most mundane conversations, he had the ability to make you feel as though your words mattered deeply. You couldn’t lie to him. She confessed he had eyes that saw through you and not in a way that made you feel exposed, but in a way that made you want to be honest. Their time working together on was filled with tension that hovered between professional admiration and a powerful unspoken chemistry. There were moments, Bergman admitted, when I’d look him across the scene, and I would forget my lines, not out of nervousness, but because I was genuinely transported by the man before me. It wasn’t lushy described, but rather a reverence, a kind of emotional surrender to someone who seemed carved out of something timeless. Bergman also recalled how peak the waiter’s fame with a humility that impressed her deeply. In a world where vanity was survival skill, Gregory remained rooted. He never needed to be the loudest voice in the room. She wrote, “His silence often said more than a hundred speeches.” She observed he took his role seriously, not for the glory, but because he saw acting as a way to tell the truth, even if it was fiction. He believed in goodness, not the naive kind, but the hard one kind of kind you fight for scene after scene. in her memoir Bergman revealed that working with Gregory Peak made her feel challenging and ultimately changed. He left an imprint on me. She reflected not just as an actor but as a woman he reminded me that greatness isn’t about perfection but about. Presence Gregory was present in the deepest most magnificent sense of the word. So when she wrote he was massive. It was not a throwaway phrase not a tabloid headline. It was summation of a man whose magnitude touched her in more ways than she had ever anticipated physically, emotionally, artistically and spiritually during theatrical run of the constant wife in London. In the early 1970s, Ingred Bergman’s life took a dramatic and unforeseen turn. It was during this period when she was still commanding stages with the same magnetism that had long defined her film career that she noticed a troubling physical anomaly, a hard lump under her left breast despite being in the midst of an intense performance schedule. Bergman known for her discipline and attention to detail acted swiftly on 15th of June 1974. She underwent surgery at a private London clinic to have the lump removed of the operation was kept relatively quiet. This marked the beginning of a long and difficult battle with breast cancer. One that she chose to fight with grace courage and an unwavering commitment to her craft to cancer however was not done with her years later while immersed in emotionally demanding filming of Autumn Sonata. A film that would become one of her most powerful and critically acclaimed performances. Bergman once again fel an ominous lump. The second discovery prompted her to urgently return to London where she underwent yet another surgery. The experience was particularly symbolic. Even as her body was fighting a terminal disease, she gave one of the most raw, complex, and vulnerable performances of her career under the direction of Ingmar Bergman no relation in a role that seemed to mirror the emotional trials of her real life after the surgery and recovery, demonstrating her indomitable spirit and tireless work ethic. Bergman immediately began rehearsals for Waters of the Moon in 19 78 television adaptation, refusing to let her illness define or limit her despite the ongoing progression of her disease Bergman continued to take on meaningful roles, including one of the most significant of her late career portrayal of Israeli Prime Minister Gold Mayor in the 1981 television film A Woman called Gold. The choice was daring and deeply moving. Bergman was now frail. saw her face altered by treatments and time. Yet, she inhabited Mir’s persona with profound strength and dignity. Filming was grueling and the toll on her health was immense. But she completed the project with characteristic professionalism performance would earn herostumous Emmy in Golden Globe awards a final affirmation of her towering legacy in dramatic arts. Following this Bergman retired from the public stage to her London apartment in the elegant neighborhood of Cheney Gardens situated near the river Tempame the area was known for it artistic residence and tranquil charm but for Bergman it became a place of solitude and silent struggle there she began undergoing regular chemotherapy treatments the once radiant starve captivated millions now face a disease with quiet stoicism paparazzi and fans frequently gathered outside her building, camping on the pavement in hopes of a glimpse of the legendary actress aware of their presence. But unwilling to allow them to see her weakened state, she avoided the front window. The illness had now ravaged her body. The cancer had metastasized her spine, collapsing. Her 12th vertebrae, causing her great pain and limiting her mobility. Her right lung had ceased functioning entirely, and only a portion of her left lung remained operational. Yet even in these darkest days, she never surrendered her inner strength. Ingred Bergman passed away in London just after midnight on August 29th 1982 pointantly on her 67th birthday. her death came peacefully surrounded by people she loved her ex-husband the Swedish theatrical producer Lars Schmidt with whom she had remained on warm and affectionate terms was at her bedside along with three others at evening hours before her passing they had shared a final toast in her honor and intimate and symbolic gesture full of bittersweet celebration an impending loss by her bedside was a copy of the little prince the philosophical novella by Antoine desent zupri the book cherished by Bergman for its themes of innocence, loss, and the unseen essence of things lay open to a page near the end. Perhaps a final quiet reflection of her soul’s journey. Her memorial service took place in October at the historic St. Martin in the Fields Church in London. It was a solemn, elegant affair attended by 1,200 mourners from all corners of the world. Among them were her three children, including Isabella Rosalini, who had already begun making her own mark in film. The extended Rosalini family and relatives who had flown in from Sweden to say goodbye to one of their brightest stars of service also drew an extraordinary assembly of luminaries from performing arts, distinguished actors and lifelong colleagues such as Liv Olman, Sir John Gilgadame, Wendy Hillerber at Nielsen and Jos Acklland were all present each paying tribute in their own silent ways. Passages from Shakespeare were read aloud during the service echoing Bergman’s deep roots in classical theater musical selections included the playful tune this old man famously featured in the end of the six happiness and a hauntingly nostalgic as time goes by mortalized by Bergman’s own voice in Casablanca On.
“He Was MASSIVE” – Ingrid Bergman Confesses Everyt
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