Bergman on Antonioni－女神殿

Ingmar Bergman face to face

"Fellini, Kurosawa and Bunuel move in the same field as Tarkovsky. Antonioni was on his way, but expired, suffocated by his own tediousness."
- The Magic Lantern

"He's done two masterpieces, you don't have to bother with the rest. One is Blow-Up, which I've seen many times, and the other is La Notte, also a wonderful film, although that's mostly because of the young Jeanne Moreau. In my collection I have a copy of Il Grido, and damn what a boring movie it is. So devilishly sad, I mean. You know, Antonioni never really learned the trade. He concentrated on single images, never realising that film is a rhythmic flow of images, a movement. Sure, there are brilliant moments in his films. But I don't feel anything for L'Avventura, for example. Only indifference. I never understood why Antonioni was so incredibly applauded. And I thought his muse Monica Vitti was a terrible actress."
- Jan Aghed, "När Bergman går på bio", Sydsvenska Dagbladet, 12 maj 2002.

老實說我看到最後一句就發瘋了，根本沒心情好好看文章內容，還發誓拒看柏格曼！

現在我們讓理性地再檢視一次吧！

柏格曼相當推崇塔可夫斯基，對塔可夫斯基的評價甚至大於費里尼，黑澤明，布紐爾。

柏格曼對安董的作品則有著相當兩極化的評價，春光乍洩和夜是 masterpiece，剩下都不怎樣。

春光乍洩看了好幾次，夜的可看性來自於年輕的珍妮摩露。吶喊無聊至極。

安董過度專注於單一的畫格，卻不了解電影是有節奏有律動的影像。當然柏格曼還是對安董某些 movement 讚譽有加。

就是對情事很沒感覺。柏格曼從來就無法理解安董受人推崇之處，Vitti 是個很糟糕的演員。

老實說柏格曼我只看過片段，實在無法說出像「我看過一些伯格曼，有夠悶。」的心得，但柏格曼會說人悶，實在是很有趣。

再來是夜，我當時在場大概會和柏格曼開幹吧！夜的可看性就在於當時已經三十的 Vitti 如何以花樣荳蔻之姿羞辱珍妮摩露水，所謂年輕的珍妮摩露站在一旁根本就是個死黃臉婆，柏格曼這傢伙是腦袋有問題還是眼睛有問題？