Issue 65: Ingmar Bergman

The first half of Ingmar Bergman's script seems to call for an almost comically tight-lipped, stone-faced blankness; the second half calls for at least four different coloratura breakdowns. Ullmann “fought like a lion” in the role, and, just hearing about it, you might imagine her Oscar nomination was a reward for a kind of athletic stamina, a heroic stab at an impossible target.