7 Ingmar Bergman Quotes on Criticism

Ingmar Bergman quotes on criticism

3. Our social relationships are limited, most of the time, to gossip and criticizing people's behavior. This observation slowly pushed me to isolate from the so-called social life. My days pass by in solitude.

9. I think he's a very good technician. And he has something in Psycho, he had some moments. Psycho is one of his most interesting pictures because he had to make the picture very fast, with very primitive means. He had little money, and this picture tells very much about him. Not very good things. He is completely infantile, and I would like to know more - no, I don't want to know - about his behaviour with, or, rather, against women. But this picture is very interesting.

28. One of the strongest feelings I remember from my childhood is, precisely, of being humiliated; of being knocked about by words, acts, or situations. Isn't it a fact that children are always feeling deeply humiliated in their relations with grown-ups and each other? I have a feeling children spend a good deal of their time humiliating one another. Our whole education is just one long humiliation, and it was even more so when I was a child. One of the wounds I've found hardest to bear in my adult life has been the fear of humiliation, and the sense of being humiliated. . . Every time I read a review, for instance - whether laudatory or not - this feeling awakes. . . To humiliate and be humiliated, I think, is a crucial element in our whole social structure. It's not only the artist I'm sorry for. It's just that I know exactly where he feels most humiliated. Our bureaucracy, for instance. I regard it as in high degree built up on humiliation, one of the nastiest and most dangerous of all poisons.

48. I've never gotten anything out of his movies. They have felt constructed, faux intellectual and completely dead. Cinematographically uninteresting and infinitely boring. Godard is a fucking bore. He's made his films for the critics. One of the movies, Masculin, feminin, was shot here in Sweden. It was mindnumbingly boring.

49. I've never liked Welles as an actor, because he's not really an actor. In Hollywood you have two categories, you talk about actors and personalities. Welles was an enormous personality, but when he plays Othello, everything goes down the drain, you see, that's when he's croaks. In my eyes he's an infinitely overrated filmmaker.

50. For me he's just a hoax. It's empty. It's not interesting. It's dead. Citizen Kane, which I have a copy of - is all the critics' darling, always at the top of every poll taken, but I think it's a total bore. Above all, the performances are worthless. The amount of respect that movie's got is absolutely unbelievable.

51. 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.