Name: イングリッド・バーグマン (Ingrid Bergman)
Uploaded: 2021-01-14T05:15:24.000Z
Duration: 32 min 47 s
Description: VoiceTubeの動画で発音を聞きながら英語表現を覚えよう！学べる英語：

Ingrid Bergman was a Swedish actress who starred in a variety of European and American films.

She won three Academy Awards, two Emmy Awards, four Golden Globe Awards and the Tony Award

基礎受動態

for Best Actress. She is ranked as the fourth greatest female star of American cinema of

all time by the American Film Institute. She is best remembered for her roles as Ilsa Lund

in Casablanca, a World War II drama co-starring Humphrey Bogart, and as Alicia Huberman in

Notorious, an Alfred Hitchcock thriller co-starring Cary Grant.

Before becoming a star in American films, she had been a leading actress in Swedish

films. Her first introduction to U.S. audiences came with her starring role in the English-language

remake of Intermezzo in 1939. In the United States, she brought to the screen a "Nordic

freshness and vitality", along with exceptional beauty and intelligence, and according to

the St. James Encyclopedia of Popular Culture, she quickly became "the ideal of American

womanhood" and one of Hollywood's greatest leading actresses.

After her performance in Victor Fleming's remake of Dr. Jekyll and Mr. Hyde in 1941,

she was noticed by her future producer David O. Selznick, who called her "the most completely

conscientious actress" he had ever worked with. He started her with a one-film role

at her insistence, then signed a four-film contract rather than the typical seven-year

acting contracts typically signed with foreign actors at that time, thereby supporting her

continued success. A few of her other starring roles, besides Casablanca, included For Whom

the Bell Tolls, Gaslight, The Bells of St. Mary's, Alfred Hitchcock's Spellbound, Notorious,

and Under Capricorn, and the independent production Joan of Arc.

In 1950, after a decade of stardom in American films, she starred in the Italian film Stromboli,

which led to a love affair with director Roberto Rossellini while they were both already married.

The affair and then marriage with Rossellini created a scandal that forced her to remain

in Europe until 1956, when she made a successful Hollywood return in Anastasia, for which she

won her second Academy Award, as well as the forgiveness of her fans. Many of her personal

and film documents can be seen in the Wesleyan University Cinema Archives.

Bergman, named after Princess Ingrid of Sweden, was born in Stockholm, on 29 August 1915 to

a Swedish father, Justus Samuel Bergman, and his German wife, Frieda Henrietta "Friedel"

Bergman. When she was three years of age, her mother died. Her father, who was an artist

and photographer, died when she was thirteen. In the years before he died, he wanted her

to become an opera star, and had her take voice lessons for three years. But she always

"knew from the beginning that she wanted to be an actress," sometimes wearing her mother's

clothes and staging plays in her father's empty studio. Her father documented all her

After his death, she was sent to live with an aunt, who died of heart disease only six

months later. She then moved in with her Aunt Hulda and Uncle Otto, who had five children.

Another aunt she visited, Elsa Adler, first told Ingrid, when she was 11, that her mother

may have "some Jewish blood," and that her father was aware of that fact long before

they married. But her aunt also cautioned her about telling others about her possible

ancestry as "there might be some difficult times coming."

At 17, in 1932, Bergman was allowed only one chance to become an actress by entering an

acting competition with the Royal Dramatic Theatre in Stockholm. Bergman recalls her

As I walked off the stage, I was in mourning, I was at a funeral. My own. It was the death

of my creative self. My heart had truly broken... they didn't think I was even worth listening

Her impression was wrong, as she later met one of the judges who described how the others

We loved your security and your impertinence. We loved you and told each other that there

was no reason to waste time as there were dozens of other entrants still to come. We

didn't need to waste any time with you. We knew you were a natural and great. Your future

As a result she received a scholarship to the state-sponsored Royal Dramatic Theatre

School, where Greta Garbo had years earlier earned a similar scholarship. After several

months she was given a part in a new play, Ett Brott, written by Sigfrid Siwertz. Chandler

notes that this was "totally against procedure" at the school, where girls were expected to

complete three years of study before getting such acting roles.

During her first summer break, she was also hired by a Swedish film studio, which led

to her leaving the Royal Dramatic Theatre after just one year, to work in films full-time.

Her first film role after leaving the Royal Dramatic Theatre was a small part in 1935's

Munkbrogreven. She went on to act in a dozen films in Sweden, including En kvinnas ansikte,

which was later remade as A Woman's Face with Joan Crawford, and one film in Germany, Die

vier Gesellen. Hollywood period: 1939–49

Intermezzo: A Love Story Bergman's first acting role in the United

States came when Hollywood producer David O. Selznick brought her to America to star

in Intermezzo: A Love Story, an English language remake of her 1936 Swedish film, Intermezzo.

Unable to speak English and uncertain about her acceptance by the American audience, she

expected to complete this one film and return home to Sweden. Her husband, Dr. Petter Lindström,

remained in Sweden with their daughter Pia. In the film she played the role of a young

piano accompanist opposite Leslie Howard as a famous violin virtuoso.

She arrived in Los Angeles on 6 May 1939, and stayed at the Selznick home until she

could find another residence. According to Selznick's son, Danny, who was a child at

the time, his father had a few concerns about Ingrid: "She didn't speak English, she was

too tall, her name sounded too German, and her eyebrows were too thick." Bergman was

soon accepted without having to modify her looks or name, despite some early suggestions

by Selznick. "He let her have her way," notes a story in Life Magazine. Selznick understood

her fear of Hollywood make-up artists, who might turn her into someone she wouldn't recognize,

and "instructed them to lay off." He was also aware that her natural good looks would compete

successfully with Hollywood's "synthetic razzle-dazzle." During the weeks following, while Intermezzo

was being filmed, Selznick was also filming Gone with the Wind. In a letter to William

Hebert, his publicity director, Selznick described a few of his early impressions of Bergman:

Miss Bergman is the most completely conscientious actress with whom I have ever worked, in that

she thinks of absolutely nothing but her work before and during the time she is doing a

picture ... She practically never leaves the studio, and even suggested that her dressing

room be equipped so that she could live here during the picture. She never for a minute

suggests quitting at six o'clock or anything of the kind ... Because of having four stars

acting in Gone with the Wind, our star dressing-room suites were all occupied and we had to assign

her a smaller suite. She went into ecstasies over it and said she had never had such a

suite in her life ... All of this is completely unaffected and completely unique and I should

think would make a grand angle of approach to her publicity ... so that her natural

sweetness and consideration and conscientiousness become something of a legend ... and is completely

in keeping with the fresh and pure personality and appearance which caused me to sign her.

Intermezzo became an enormous success and as a result Bergman became a star. The film's

director, Gregory Ratoff, said "She is sensational," as an actress. This was the "sentiment of

the entire set," writes Life, adding that workmen would go out of their way to do things

for her, and the cast and crew "admired the quick, alert concentration she gave to direction

and to her lines." Film historian David Thomson notes that this would become "the start of

an astonishing impact on Hollywood and America" where her lack of makeup contributed to an

"air of nobility." According to Life, the impression that she left on Hollywood, after