LYCOS RETRIEVER 
Ingmar Bergman: Cries
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With its large Scandinavian community, Seattle has long been a particularly strong market for Bergman's work. Several of his films -- including 1972's "Cries and Whispers" -- did their best West Coast runs here. Earlier this year, the Seattle International Film Festival helped inaugurate its new theater with a revival series that featured five Bergman titles.
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Ironically, while it is, arguably, the 'artsiest' of Bergman's creations, it's ... one of the greatest horror films ever made.... Persona may not have all the trappings of the genre - it has almost nothing that resembles the more explicitly blood-soaked horror films of the last 20 years - but its influence is still apparent in the best of them. As in Nicolas Roeg's Don't Look Now (1973), Cronenberg's The Fly (1985), Roman Polanski's Repulsion (1965) and Rosemary's Baby (1968), it's identity - one's very sense of self - that is under attack. You can always fight an external attacker. But Bergman knew that no mutant lizard or robotic boogieman could rival the terror of a corrupted or disappearing sense of self.
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Bergman shot seven films on Faaroe, a limestone island off Sweden's east coast, and he took refuge there when accused of tax crimes in 1976, before going into exile in Germany for some years. The charges against Bergman were dropped.
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Slate V has posted nine soap commercials shot by recently deceased film director Ingmar Bergman. As Dana Stevens, Slate’s film critic, points out in the commentary below, Bergman’s ads challenged the conventions of most commercials—in one case, Bergman depicts a character being injured by the product, Bris soap.
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The investigation was focused on an alleged 1970 transaction of SEK 500,000 between Bergman's Swedish company Cinematograf and its Swiss subsidiary Persona, an entity that was mainly used for the paying of salaries to foreign actors. Bergman dissolved Persona in 1974 after having been notified by the Swedish Central Bank and subsequently reported the income. On March 23,1976, the special prosecutor Anders Nordenadler dropped the charges against Bergman, saying that the alleged "crime" had no legal basis, comparing the case to the bringing of "charges against a person who is stealing his own car".[7] Director General Gösta Ekman, chief of the Swedish Internal Revenue Service, defended the failed investigation, saying that the investigation was dealing with important legal material and that Bergman was treated just like any other suspect. He expressed regret that Bergman had left the country, hoping that Bergman was a "stronger" person now when the investigation had shown that he had not done anything wrong.[8]
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After the trilogy, Bergman would only touch on religious or Christian themes in a roundabout or ironic way. This has not prevented him from occasionally relapsing into a more or less religiously colored idiom. One example is the inexplicable light which suddenly breaks forth, washing with remarkable grace over some suffering or downtrodden soul – for example the assaulted fisherman in The Passion of Anna (1969, UK title A Passion) or the dying woman in Cries and Whispers (1973).
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