Ingrid Bergman (1) (1915–1982)
Autor de Ingrid Bergman: Mi vida
Para otros autores llamados Ingrid Bergman, ver la página de desambiguación.
Sobre El Autor
Créditos de la imagen: Courtesy of the NYPL Digital Gallery (image use requires permission from the New York Public Library)
Obras de Ingrid Bergman
Obras relacionadas
3 Films by Roberto Rossellini Starring Ingrid Bergman (Stromboli / Europe '51 / Journey to Italy) (2013) — Actor — 15 copias
The Colgate Comedy Hour: Abbott & Costello Christmas Show [1952 TV episode] (1988) — Actor — 8 copias
Hedda Gabler [1962 TV movie] — Actor — 2 copias
Etiquetado
Conocimiento común
- Otros nombres
- BERGMAN, Ingrid
- Fecha de nacimiento
- 1915-08-29
- Fecha de fallecimiento
- 1982-08-29
- Lugar de sepultura
- Cremated (ashes scattered at sea)
- Género
- female
- Nacionalidad
- Sweden
- Lugar de nacimiento
- Stockholm, Sweden
- Lugar de fallecimiento
- London, England, UK
- Lugares de residencia
- California, USA
Rome, Italy - Educación
- Royal Dramatic Theatre School, Stockholm
- Ocupaciones
- actor
- Relaciones
- Rossellini, Roberto (former husband)
Rossellini, Isabella (daughter) - Premios y honores
- Academy Award (Best Actress 1944, 1956)
Academy Award (Best Supporting Actress 1974)
Miembros
Reseñas
Premios
También Puede Gustarte
Autores relacionados
Estadísticas
- Obras
- 3
- También por
- 34
- Miembros
- 484
- Popularidad
- #51,011
- Valoración
- 4.2
- Reseñas
- 2
- ISBNs
- 41
- Idiomas
- 9
- Favorito
- 1
It’s is not a quick, slick, tell-all but a real memoir and portrait of an artist. It’s long—over 550 pages of tiny, old-school packed-on-the-page type—but there isn’t a scene I would cut. The story of her marriages, her career, her strained relationship with her oldest daughter, and her health scares are all told as well as could be by any skilled novelist. It’s also a great evocation of the age of Selznick and the studios. Bergman wisely shares the credit with Alan Burgess, whose traditional biographical narrative is interpolated throughout Bergman’s recounting of her life. The reader gets a real sense of Bergman as a person—or, probably more accurately, “Bergman,” since only she knows the real person. There’s something here reminiscent of The Picture of Dorian Gray—the idea that people are more real when they are onstage than when they are off and one person’s struggle to make her offstage life as fulfilling and meaningful. It doesn’t work for Sybil Vane, but it seems to have done so for Bergman.… (más)