The MagicLantern is the life of Ingmar Bergman. Ingmar Bergman is unquestionably among the best known Swedes in the world. He is not only Sweden¡¯s foremost filmmaker of all time, but is generally regarded as one of the foremost figures in the entire history of the cinematic arts. Although Bergman is widely known as a film director, he has also become one of the foreground figures of the modern Swedish theatre.

In this book Bergman writes about his childhood, his life in the theater and film, the women of his life, his relationships with his children, his health, politics...

I think that his book will help you understand one of the greatest filmmakers of our time. Like his films, Bergman¡¯s autobiography is a highly idiosyncratic, irreverent, sometimes bizarre, often offensive, but deeply sensitive and always intensely personally exploring into the passions that animate the creative instinct and every interpersonal relationship.

It is startling to realize how many of his own experiences, events, struggles, and disappointments have found their way into the scripts that he films or stages. At once naked in sincerity and clothed in scorn with an unhealthy doze of egoism, Bergman¡¯s revelations are both profound as a great artist¡¯s insight and fairly banal as the philosophy of a human being.

Reading this book was a rare treat for the better knowledge of the creator, although it does not really help penetrate some of his work, still sheds some light on his approach and immensely increases the joy of seeing his output. For anyone who has ever liked anything by Bergman, this book is an essential reading.

This autobiography is composed of small, meticulous, seemingly superfluous, and often annoying tidbits that may appear like needless pedantry. When the whole is played from start to finish, though, a miracle indeed occurs. One catches a brief, but revealing, glimpse into the mind of an artist. Starting from early childhood memories, with a dominant figure of his father and his exacting standards, going through his foray into the world of theater and cinema, Bergman seems to be setting up the stage in a precise but seemingly chaotic manner for the main performance of his private life with five marriages, mistresses, and a lot of distress that is never made explicit, and with his triumphs as a director.

Although he does appear to be dwelling more on what he regards as failures. I think perhaps that the following long quote is the best summary of both Bergman¡¯s approach to art and an apt illustration of the way is autobiography reads and then suddenly impacts.

¡°Sometimes there is a special happiness in being a film director. An unrehearsed expression is born just like that, and the camera registers that expression. That was exactly what happened that day. Unprepared and unrehearsed, Alexander turned very pale, a look of sheer agony appearing on his face. The camera registered the moment. The agony, the intangible, was there for a few seconds and never returned. Neither was it there earlier, but the strip of film caught the moment. That is when I think days and months of predictable routine have paid off. It is possible I have lived for those brief moments. Like a pearl fisher.¡±

Bergman¡¯s autobiography, The Magic Lantern, is well worth reading. This book is a moving, candid account of the great director¡¯s often turbulent life. It is written the same way that his films are made: full of humor and tender observation. I was deeply touched by it and inspired by his creative spirit. In any case, highly recommended.

¡°Film is nothing but self,¡± said Bergman. ¡°That is what the resurrected world is about. It doesn¡¯t exist outside of being self, it¡¯s subjective reality. There is no division between subjective and objective anymore, self is both. My feelings are very objective, pain is extremely real. The so-called ¡°objective¡± world follows the logic of Kant; it is a thing-in-itself.¡±