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IN THE NOH, from p.42
of time making people look good, not shooting them with a pimple on their face, anything to not make them normal because the movie style at that time was not to be realistic.” In moments like her hysteria in “Dr. Jekyll” and “Gaslight,” Bergman brought a raw, near-animal ferocity to the screen unseen in American film up to that time, except maybe as practiced by Bette Davis in her more stylized manner. In “For Whom the Bell Tolls,” her electrifying monologue describing the savage execution of her parents by Franco’s fascists stops your heart. Lindström agreed, saying, “She had the ability to portray real emotions, cry real tears, or feel horrible. That’s real art, to make the audience feel something and she had that ability. It was a real gift but I think it was part of her early childhood, being around her father and his camera. Her mother had already died when she was a baby and her father not too long after that, so I think she always had kind of a love for her directors, whom she saw as substitute father figures.” In one case, that love went beyond the platonically paternal: Victor Fleming, who was the first to really unleash her Hollywood talent as Ivy Brown in “Dr. Jekyll,” a character Miriam Hopkins had also essayed brilliantly a decade before, and which doesn’t even exist in Robert Louis Stevenson’s novella. “Oh, yes!” Lindström said. “They loved each other so much. He also directed her in ‘Joan of Arc.’ She had done the stage play and always wanted to do the film. But there was no blood in it. It looked like a stage play and those were they days when people were first going on location and wanted to show something more gritty. It was a big flop. Fleming spent so much time lighting my mother, I don’t think she ever looked more beautiful, and then he died right after that. It was such a blow and two families were devastated by it. I thought that was a poignant experience for her.” Lindström herself appeared in the 1948 movie: “I did a crowd scene and watched my mother being dragged off to be burnt. GayCityNews.nyc | November 12 - 25, 2015
INGRID BERGMAN: IN HER OWN WORDS Directed by Stig Björkman Rialto Pictures Opens Nov. 13 Lincoln Plaza Cinema 1886 Broadway at W. 62nd St. lincolnplazacinema.com
It was great fun being with all the kids, and we didn’t have to go to school. You were on the set, then you had lunch and they tried to make you read something, for schooling. I remember Victor Fleming paid me in a hundred pennies in a big sack. He was a very attractive man, and it was a sad story.” The documentary touches on the affair with Fleming, but leaves out other rumored dalliances, like those with Gary Cooper and Spencer Tracy (Katharine Hepburn’s niece, Katharine Houghton told me that Bergman was one of the few women that Hepburn was insanely jealous of). When I mentioned to Lindström that her mother almost lived like a man with complete independence, she scoffed, “Wait a minute! Wait a minute! What do you mean, ‘independent?’ She was always married, always had a man taking care of her! “Like when she was with [war photographer] Robert Capa –– that’s not independence, that just means you believe in what they believed in in the 1960s: free love! She fell in love a lot. That last marriage she had to Lars Schmidt –– they got divorced, but he still took care of her, financially, the business thing, everything! We don’t have a term for this anymore, but her path may have been a little bit freer.” I asked Lindström how all this free love and life affected her as a child.: “I didn’t know what was going on. It was only much later, when I was grown up, that we talked about it as adults She was open about her life, but not completely. I have children myself, but I’m not completely open with them. We all have things that we keep to ourselves, don’t we? And that’s a good thing! It works better that way, although I’m not
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IN THE NOH, continued on p.44
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