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Bergman - 21 Films
Gunnar Björnstrand – 12 Films
10 Films Erland Josephson, Max Von Sydow, Buñuel
8 Films Liv Ullman, Dicaprio, Kurosawa, Mifune, Ingrid Thulin
7 Films Orlando Bloom, Depp, Shimura, Bibi Andersson, Mizoguchi, Tatsuya Nakadai, Al Pacino, Brad Pitt, Kamal Hassan
6 Films Kieslowski, Bresson, Gunnel Lindblom, Visconti, Michel Piccoli, Ftiz Lang
5 Films Masaki Kobayashi, Diane Keaton,Duvall, Denzel, Kinuyo Tanaka, Chaplin, Andy Serkis (the dude who played Smeagol), Harriet Andersson, De Niro, Fellini, Catherine Deneuve, Jeanne Moreau, Mastroianni
Few are more influential than Aristotle, and his Poetics was greatly adored by many, amongst them Goethe. But he will not feature in this list, as his contribution to acting, theater, and film is lesser than that of Aristophanes and the Tragedians. This list merely judges, objectively, the contributions of these men to the evolution of the theatrical conception, starting with Aeschylus, and ending with the those who bear the future, people like Denzel and Di Caprio.
I have left out acting coaches like Stella Adler, and studio bosses.
*Someone's lack of fame, say Bala, or Tarkovsky, does not undermine their contribution, just as Caspar David Friedrich's, Blake's or Nietzsche's, could not have been underestimated in their lives because of their commercial failure. I say this because to justify the inclusion of Bergman over Lucas and Spielberg.
An ontologival incestigation by Suffering's last son
Like Dostoevsky, Hamsun, Strindberg, Kafka and Camus, Bergman throws himself in front of the reader. After reading his autobiography, you are forced to ask yourself, "was Isak Ingmar?" Is the movie a window into the greatest exponent of the 20th centuries art form? Or, is it a mirror for us to reach inside and grab by the throat a future that seems inevitable? No artist since Bernini has depicted pain as Bergman has. In Wild Strawberries Bergman has a given a man, frail, worn of by Christian in-action (in the Niezschean sense). It is arguably the most positive, this-life-enforcing movie that can viewed. I have refrained from quoting any specifics. I would hate to ruin the movie for someone who is harping on whether to spend 90 minutes on it. My suggestion, do it; thrice over; every year.
This movie, along with Hamsun's Hunger, Dostoevsky's Notes, is the pinnacle of man's love for the dirt that hides under his nails.
(I am amazed at how different the subtitle are on a criterion disc. I feel they are literal, often compromising the poetic essence that is present in other non-criterion discs sold by the Swedish Art Institute. I am torn apart as to which is better, but, if you are like me, and see Bergman as a genius whose essence is to be captured in full, see both. I would advice looking at Walter Arndt's introduction to Eugene Onegin, and the difficulties of translating Pushkin. I cannot help but wonder if Bergman is looking at us with scorn for sullying his legacy.)