On July 14, 1918, Enrique Bergman was born in Uppsala, Sweden, into a family with a strong religious atmosphere. His father, Enrique Bergman, was a devout Lutheran and had served as a pastor for a long time. The mother is a young lady from an upper-class background, willful and withdrawn. His father's discipline on Bergman was severe to the point of cruelty. Bergman's childhood life was shrouded in a severe and depressive atmosphere, all of which had a profound impact on Bergman's later creations. Bergman has been dreamy since he was a child. He himself said that once, when he heard the sound of the neighbor's piano, he suddenly imagined Venus standing in front of his window. Perhaps it is his extraordinary imagination that makes the films he directs unique. A critic once said, "The perfect combination of imagination and screen action is a major feature of Bergman's films." His fantasy, rebellious psychology towards society and family, casual behavior, and lack of emphasis on clothes are all the characteristics of Bergman's films. What makes German different. Gunnar Fisher, who had been his photographer since 1948, once described the first meeting with Bergman: "Once, we were reviewing films in the office, and a young man in ragged clothes came in and walked in. Without saying a word, he lay down on the floor and used his arms as a pillow. He didn't say a word for half an hour, and finally left without saying 'goodbye' to anyone."

In 1937. , Bergman entered Stockholm University to study literature and art history. He read a large number of works by famous drama writers such as Shakespeare and Strindberg. At the same time, he often appeared in the school's student amateur theater troupe, writing scripts, directing plays, and playing roles. After graduating from university, he served as a drama director at the Royal Theater in Gothenburg, Helsingborg, and Stockholm, which laid the foundation for his future career as a film director. A solid foundation. In 1944, Bergman wrote his first film script "Torture", which sharply criticized the Swedish school education system for its brutal, authoritarian and cruel oppression of students. It was made into a film by Alf Sjoberg. In 1945, Bergman directed his first film "Crisis". In the early 1950s, Bergman matured in film art. In the mid-to-late 1950s, with the completion of films such as "A Smile on a Summer Night", "The Seventh Seal", "Wild Strawberries", and "The Magician", Bergman became one of the world's famous directors. In the 1960s and 1970s, most of Bergman's works used cameras to peer into people's souls, such as "The Silence Trilogy", namely "In the Mirror" (1961), "Winter Light" (1962) ) and "Silence" (1963), as well as "Persona" (1966), "Shame" (1968), "Cries and Whispers" (1972), etc. During this period, Bergman mostly used the structural form of indoor psychodrama to show the extremely vast changes in time and space in the human heart in a seemingly small space. In 1977, Bergman filmed the anti-fascist film "Snake's Egg", and in 1978 he filmed his most staged film "Autumn Sonata", which described the conflict between career and family, the estrangement between mother and daughter, and the relationship between them. A love-hate relationship. The film stars Ingrid Bergman. In 1981, Bergman began filming Fanny and Alexander, which he called his "last film." This is his film with the most characters, the most complex plot, the largest scale, the broadest vision, the most expensive shooting cost, and a running time of more than 3 hours. This film has 60 speaking characters and 1,200 extras. It is a family chronicle that combines comedy, tragedy, farce and horror. The themes and characters from Bergman's past films, as well as everything he was obsessed with, reappeared in this film. He claimed that this film was his "summary of his life as a director" and "a relaxed song about loving life." Hymn".

Most people know Bergman because of "Wild Strawberries". This is a very old film, shot as early as 1953. It is a black and white film. In this film, we can see the shooting techniques adopted by Bergman before other contemporary film directors: the dream in the opening film is constantly interspersed throughout the film, and memories and reality are entangled with each other, making it difficult to distinguish true from false.

Let’s take "Cries and Whispers" as an example to experience the unique touching power that Bach's simple and beautiful melody gives Bergman's speculative film. This masterpiece by Bergman meticulously portrays four women with very different personalities: the dying Annes, sisters Karin and Maria, and maid Anna. Loneliness, pain and the inability to communicate are still the themes of the film. Throughout the film, there are unidentifiable whispers and grief-stricken cries, and the incomprehensible whispers are accompanied by the Sarabande from Bach's "Cello Unaccompanied Suite" No. 5. The cello singing, which is close to the human voice, is like a doctor's deep sigh, gently comforting the injured soul in the darkness and loneliness, and soothing the loneliness and sadness of the soul. In the picture, Karin and Maria, who rarely talk to each other, hug each other tightly. From the script, we know that they respond to each other with loving words. However, in the movie, music transcends the power of words and builds a bridge of communication between souls. This was the only real communication between the two sisters. Bach's gentle music was like a clear and clear stream slowly flowing deep into the heart. Everything that should be healed has been healed, and the only thing that is eternal is the deep concern for the sincere love of individuals and the harmonious beauty of human nature.

When language is powerless, music becomes a complex and "direct" way to convey information (between characters or between characters and the movie audience). Bergman's film scores, as Livingston pointed out: "can 'touch' all parts of the film, touching hope, promise and loneliness. This contact may be short-lived, long-lasting, superficial or real." Burgman Germann "does not believe in language". He believes that music is more "reliable" and it is "the most perfect symbol". Unlike other directors who regard music as a secondary form, merely to support and enrich the film's narrative, Bergman's film music is a narrative in itself (albeit wordless) and is necessary in the rest of his works. Indispensable form. Bergman always makes sure that we get all the necessary information while still appreciating the brilliance of his cinematic skills. His works always present an artistic beauty, consciously focusing on the artistic structure of the film, especially the "painting-like" flashback shots. But he also gives us a very "natural" and uncarved sense of respectability. We can say that "(his) works are very simple and also have a kind of magic".

In "Autumn Sonata", the director explored and innovated the art form, expanded the space for film expression, and made the entire film glow with indescribable brilliance. The film's form, "circumstantial yet simple plot patterns and confusing, unsophisticated photography techniques," corresponds to the characters' complex emotional entanglements and psychological activities, especially the subtle changes in the relationship between the two protagonists. In the second half of the film, close-ups look at the two protagonists calmly and almost cruelly. We see that their current pain and the distant years gradually merge and become one and the same. Autumn Sonata explores human frailty and unconventional artistic techniques. Bergman's close-ups are often so close that they almost "cross their faces." Bergman seemed to realize that "relying on an actress's facial expressions to reveal a hidden truth may also be a lie, because it is art." Bergman never explores reality because “it doesn’t exist! Behind every face (most obviously in Charlotte’s case), there is another face, and after that there is another face… in In a thousandth of a second, an actor can give completely different impressions, but the succession between them is so rapid that all you see is a real body." For the entire film, reality is only a metaphor, because "a film sequence composed of consecutive frames appears to the naked eye to be just a set of moving images." The “authenticity” of any art form—such as a sonata—is selective, subjective, and illusory, and therefore necessarily contains an emotional component. Bergman seems to have a deep understanding that in order to reveal the good and evil in human nature, truth often comes with cruelty.

Bergman seems to be particularly interested in indifferent family affection. We might as well infer that he had an unfortunate childhood, otherwise he would not be interested in the similar misfortunes between husband and wife and between parents and children. Such precise understanding.

Bergman shifted from the huge tension between human suffering in this world and the divine silence of God to the existential interrogation of the individual’s current situation. How communication between lonely individuals is possible became a theme he repeatedly asked. It is impossible to explain why Bergman's films always move us. His films are indescribable and poetic. Godard captured a kind of flickering magic in it, which is the "unspeakable secret". The beauty of images is fleeting. When discussing Bergman's works, Godard said that they are "like starfish that open and close, revealing the secrets of the world and hiding them. It is the only storehouse and Fascinating reflections. The truth is their truth, they bury truth deep into the soul, tearing up the screen and dissipating in the wind."

Although highly respected, Bergman himself admitted that he could not watch his own films because they would depress him. "I don't watch my movies very often. I get jumpy and cry almost all the time... It's painful." Bergman mentioned that his happiest memory was receiving an honor from the French government in Paris in 1985. Medal time. "When we came out of the Elysée Palace there was a huge limousine waiting for us with four policemen on motorcycles in front of us. "It was probably one of the few moments where I felt happy because of my fame. "The feeling was so amazing that I laughed out loud and fell on the floor of this big car." He also recalled the ordeal he suffered during the film test screening in Munich, Germany. "That was probably the only time in my life that I got hungover. It was not just drunk. I was just too excited about the screening." Now Bergman no longer presents new masterpieces to people. Enjoying the passage of time in the solitude of Faroe Island, just like the old man in "Wild Strawberries". Perhaps only silence was his closest friend. He still stubbornly continued to think.