The Touch (1971) - News Poster



The Touch Review

Author: Euan Franklin

Anyone experienced with Bergman’s better-known films associate him with death, mortality, and the irrelevance of religion. In his most recognised film The Seventh Seal, Death is personified by Bengt Ekerot in a pitch-black cloak – but we can almost see Bergman’s face under that hood, casting a gloomy presence within his sumptuous oeuvre.

But in the ‘70s, these existential themes loosened in his work and he became more optimistic (to the criticism of some). In 1971, the year Ekerot died, Bergman’s 31st film The Touch opened to bad box-office takings and a poor response from critics – Roger Ebert claimed it was “a movie that no one liked that much”. I’m going to be controversial and say that, despite its issues, I like The Touch.

In a small medieval town in Sweden, a place where everyone knows everyone, happily-married Karin (Bibi Andersson) visits her mother in
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The Seven Greatest Director/Actor Combos

  • Cinelinx
Some actors and directors go together like spaghetti and meatballs. They just gel together in a rare way that makes their collaborations special. Here is a list of the seven best parings of director and actor in film history.

7: Tim Burton & Johnny Depp:

Edward Scissorhands; Ed Wood; Sleepy Hollow; Charlie and the Chocolate Factory; Corpse Bride; Sweeney Todd; Alice in Wonderland; Dark Shadows

Of all the parings on this list, these two make the oddest films. (In a good way.) Tim Burton is one of the most visually imaginative filmmakers of his generation and Johnny Depp was once the polymorphous master of playing a wide variety of eccentric characters. They were a natural combo. Depp made most of his best films with Burton, before his current ‘Jack Sparrow’ period began. The duo had the knack for telling stories about misfits and freaks, yet making them seem sympathetic and likable.
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Criterion Collection: Cries and Whispers | Blu-ray Review

Criterion repackages one of its earlier Ingmar Bergman inclusions this month, restoring his brilliant, enigmatic 1972 masterpiece Cries and Whispers for Blu-ray release. Financed with Bergman’s own money, the auteur had difficulty securing an American distributor, eventually finding an unlikely champion in Roger Corman, of all people, who had recently established his own releasing company, New World, and was in search of prestige titles to build artistic merit.

Rushed to theatrical release to qualify for Academy Awards consideration, it would secure five nominations, including for Best Picture and Director, winning Best Cinematography for Sven Nyqvist, before going on to be selected to play out of competition at the 1973 Cannes Film Festival (awarded the Vulcain Prize of the Technical Artist). In Bergman’s illustrious filmography, it’s unnecessary (and incredibly difficult) to endow any one title as his best from a body of work that sports a myriad of celebrated examples spanning seven decades.
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Happy Birthday, Ingmar Bergman! Watch Vintage 50-Minute Talk With The Director From 1971

96 years ago, Ingmar Bergman was born and once he hit Stockholm University College at the age of 23, he fell in love with the movies. And so began a career that would span decades, with Bergman making films would become stone cold classics, all while bringing an intellectual rigor that to this is day is still hard to match by many. He's one of the 20 Celebrated Filmmakers Who Never Won A Best Directing Oscar, but what you might not know about Bergman is that despite his very serious oeuvre, Bergman had a playful side. In fact, he apparently loved Steven Soderbergh's "Ocean's Eleven" and was a fan of "Die Hard," and while you find him talking about those in this vintage interview, give it a look anyway. Back in 1971, the director visited "The Dick Cavett Show," a couple of weeks after his latest film at the time, "The Touch," had been released in theatres.
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Dustin Hoffman

Dustin Hoffman on being difficult, the movies he didn't make and why he's finally directing

Dustin Hoffman is on the phone to his wife. I know I shouldn't eavesdrop, but I can't help it. It's the voice. "Where's your meeting? Good luck. Bye-bye." So slow and deep and rich, like whipped cream mixed with gravel. Even when he started out 45 years ago in The Graduate, as virginal Benjamin Braddock about to be educated in the ways of love and lust, he had the voice. Hoffman is an extraordinarily convincing actor – when he sweats crazily in Straw Dogs, the sweat's for real; you can almost smell him as crippled hobo Ratso in Midnight Cowboy; and when he steps into a frock and heels for Tootsie, you know he's really learned to walk a lady's walk – but in the end it's down to the voice.

And to the choices he has made.
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Daily Briefing. Rs 30 + Pm's 100 + the 70s

  • MUBI
For Reverse Shot's 30th symposium (congrats!), contributors "consider at length the movie that they believe to be the worst in a single filmmaker's career." So far: Jeff Reichert on Woody Allen's Anything Else (2003), Leah Churner on Otto Preminger's Skidoo (1968) and Leo Goldsmith on Ingmar Bergman's The Touch (1971) … PopMatters wraps its "100 Essential Directors" series … Kristin Thompson on Dw Griffith's devices … Max Goldberg previews The Outsiders: New Hollywood Cinema in the Seventies, running at the Pacific Film Archive in Berkeley through October 27; related reads: Andy McCarthy on Larry Cohen's The Private Files of J Edgar Hoover (1977), Sam Wasson (Paul on Mazursky) on three Mazurskys and Peter Tonguette (The Films of James Bridges) on The China Syndrome (1979).

Image: Elliott Gould and Ingmar Bergman on the set of The Touch. For news and tips throughout the day every day, follow @thedailyMUBI on Twitter and/or the RSS feed.
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Acclaimed Cinematographer Gunnar Fischer Passes Away At 100

Sad news tonight folks. Longtime Ingmar Bergman collaborator, Gunnar Fischer, has passed away earlier today at the ripe old age of 100. I just saw the Masters Of Cinema twitter feed posting a link to this Swedish web site (, announcing that he had died earlier today in Sweden.

From the translated story:

Gunnar Fischer out of time

The photographer and film director Gunnar Fischer died on Saturday, 100 years old.

Stockholm. He worked closely with Ingmar Bergman in the 50′s in classic films such as Summer with Monika, The Seventh Seal, Wild Strawberries and The Magician.

- He passed away in the afternoon. This fall, he would have turned 101 years, says his son and cinematographer Jens Fischer said.

Gunnar Fischer was employed by the Swedish Film Industry 1935-1970 and the 1970-75 Svt.

Fischer‘s cinematography is well represented in the Criterion Collection. You can find him working with Bergman early
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2010 Festival du Nouveau Cinema Fnc Lab: Official Lineup

The 39th annual Festival du Nouveau Cinema is set to run in Montreal on Oct 13-24. But, within the overall, massive festival is the Fnc Lab, the avant-garde and experimental section that will be having screenings and live film performances every night on Oct. 14-22.

This year, the Fnc Lab is showcasing two retrospectives; plus, a short film program of strictly 16mm films, films from the Korean Jeonju Digital Project, four feature-length projects and several special one-of-a-kind performances.

The retrospectives are of two key American women experimental filmmakers. First, in conjunction with the Double Negative Collective, the fest presents a career overview of Chick Strand, the eminent ethnographic filmmaker who sadly passed away last year at the age of 77.

Then, there’s also a retrospective of playful avant-garde filmmaker Marie Losier, who is well known for her collaborations with and film portraits of key underground figures like George Kuchar, Tony Conrad and Genesis P-Orridge.
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Ingmar Bergman Exhibit To Premiere In La, Hosted By The Academy Of Motion Pictures Arts And Sciences

With Criterion staple, and all around film legend (and my personal favorite filmmaker of all time) Jean Luc-Godard (Breathless, A Woman Is A Woman, Made In The U.S.A, just to name a few) set to receive an honorary Oscar from the Academy Of Motion Pictures Arts And Sciences, it looks like the Academy is set to honor yet another legend in the world of film.

According to the Criterion blog, the Academy is set to play host to the La premiere of a new exhibition, entitled Ingmar Bergman: Truth And Lies, all organized by the Deutsche Kinemathek, along with the Bergman Foundation.

Exhibition Information When September 16 through December 12, 2010 Where The Academy’s Fourth Floor Gallery Public viewing hours Tuesday – Friday: 10 a.m. to 5 p.m.

Saturday – Sunday: Noon to 6 p.m.*

Closed Mondays.

*Sunday, October 10: 1 to 6 p.m. Admission Free

The show will feature movie clips
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Academy to world premiere “Ingmar Bergman: Truth and Lies” “Ingmar Bergman: Truth and Lies,” an exhibition that delves into the career and personal life of the legendary Swedish director, will have its world premiere at the Academy of Motion Picture Arts and Sciences on Thursday, September 16. Organized by the Deutsche Kinemathek – Museum für Film und Fernsehen, Berlin, in association with the Academy, the exhibition, which is open to the public, will run through December 12. Admission is free.

In preparation for the first major exhibition since the director’s death in 2007, the Bergman Foundation in Stockholm has granted unprecedented access to Bergman’s personal papers, allowing for an in-depth examination of his life and vast creative output.

“Truth and Lies” will provide unique insights into Bergman’s film, theater work and personal life, with sections devoted to his early creative efforts, his ascent as an artist and his struggles with faith. The exhibition’s film projections and
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Full Programme announced for the 2009 London Film Festival

The programme for The Times BFI 53rd London Film Festival, has been announced today by Artistic Director Sandra Hebron. The line-ip includes a diverse selection of world and international premieres with a total of 191 features and 113 shorts screening alongside an exciting line-up of special events and expected guests. Opening Night film, Wes Anderson's Fantastic Mr. Fox, is one of the Festival's 15 world premieres and will be presented by the director and cast members including Meryl Streep, George Clooney, Bill Murray, Jason Schwartzman and Helen McCrory. Other films celebrating their world premieres include Sam Taylor-Wood's Closing Night Gala Nowhere Boy and the Festival's first ever Archive Gala, the BFI's new restoration of Anthony Asquith's Underground, with live music accompaniment by the Prima Vista Social Club, led by Neil Brand. The Festival will also host 23 European premieres, including Jean-Pierre Jeunet's Micmacs, Scott Hicks' The Boys Are Back and Robert Connolly's Balibo,
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The Long Goodbye: Elliott Gould Remembers Robert Altman

(Elliott Gould, above, as Philip Marlowe in The Long Goodbye.)

by Jon Zelazny

Editor’s note: this article originally appeared at on November 14, 2008.

With the back-to-back success of his Oscar-nominated role in the off-beat wife-swapping hit Bob & Carol & Ted & Alice (1969) and the even bigger off-beat hit Mash (1970), Brooklyn’s own Elliott Gould skyrocketed to worldwide fame.

While perhaps best known to those under 40 as Ross and Monica’s dad on “Friends,” or Vegas financier Reuben Tishkoff in the blockbuster Ocean’s 11 series, cine-scholars generally regard Robert Altman’s The Long Goodbye (1973) as Gould’s most iconic starring role. 2008 marks the 35th anniversary of their extraordinary modern-day reinterpretation of Raymond Chandler’s classic private eye, Philip Marlowe.

Elliott Gould invited me to his home in west Los Angeles, where he generously spoke at length of his three major collaborations with Altman, who passed away two years ago.

I read
See full article at The Hollywood Interview »

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