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Ingrid Bergman: Hollywood Collection
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Bergman returned to Hollywood in 1956 and played the title role in Anastasia, for which she won an Academy Award. Though she would continue to work regularly in film throughout the 1950s and 1960s, it was not until the 1970s that she made great movies again. Bergman was remarried to Lars Schmidt, a Swedish theatrical producer. In 1959, she made her television debut, and would appear often in the medium for several years. She won an Emmy for her television appearance as Miss Giddens in The Turn of the Screw. By the mid-1960s, Bergman returned to the stage.
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Bergman entered the Royal Dramatic Theatre in Stockholm in 1933. Three years later, she made her cinematic debut in the Swedish director Gustaf Molander’s Munkbrogreven, playing a maid in a hotel that sold illegal liquor. After acting in half a dozen Swedish films, she caught the attention of Hollywood producer David O. Selznick, who brought her to the U.S. to appear in the 1939 English remake of Molander’s Intermezzo.
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Synopsis: The Swedish Intermezzo was the film that brought Ingrid Bergman to the attention of Hollywood. Bergman plays a fresh-faced music student who falls in love with Gosta Ekman, a very-much-married violin virtuoso. Ekman leaves his wife to live with Bergman and to tour with her on the concert circuit.Read More
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David O. Selznick's INTERMEZZO is Ingrid Bergman's first English-speaking film and the movie that launched her Hollywood career. Billed as the greatest love story of all time, it avoids the schmaltz factor despite being highly melodramatic, due to Gregory Ratoff's swift direction.
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The affair did more than throw Bergman's personal life into turmoil. She was vilified in the United States for her actions and unable to find work in Hollywood for seven years. Senator Edward C. Johnson denounced her and the film company who distributed Stromboli on the Senate floor. He proposed a licensing system for foreign actors so they could be thrown out of the country on immoral grounds. Further, the six films Bergman made with Rossellini were all box office failures. Only a couple of them were artistic successes for Bergman.
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