This extended even to ordering for both of them at dinner.

(Quoted in Co-
hen, Bergman: Art of Confession, pp. 24–5.) See also Liv Ullmann, Changing
(New York: Knopf, 1977); Ullmann, “Dialogue on Film” American Film In-
stitute 2:3 (March 1973), pp. 1–22; and Virginia Wright Wexman, “An Inter-
view with Liv Ullmann,” Cinema Journal 20:1 (Fall 1980).
6. Bergman has had five wives and eight children: Else Fischer (1943–5: Lena);
Ellen Lundström (1945–50: Eva, Jan, and twins Anna and Mats); Gun Grut
[Hagberg] (1951–5: Ingmar); Käbi Lareti (1959–66?: Daniel Sebastien); and
Ingrid Karlebo [von Rosen] (1971–95). Among others, he had affairs with
Harriet Andersson (1952/3), Bibi Andersson (1955), and Liv Ullmann (1965–
9: Linn).
7. See Malou von Sivers’s interview of Bergman and Erland Josephson for TV4
International, Sweden, 1999; included as Ingmar Bergman: Reflections on
Life, Death, and Love, with Erland Josephson in the Criterion DVD of Cries
and Whispers (2001).
8. Kaila’s “thesis that man lives strictly according to his needs – negative and
positive – was shattering to me, but terribly true. And I built on this ground.”
See Bergman’s “Introduction” to Four Screenplays, p. xxi. Bergman met
Janov in Los Angeles (probably in 1972) and planned to make a television
film based on his material, but the project didn’t carry through. See Magic
Lantern, p. 231.
9. In the summer of 1932, “I read ceaselessly, often without understanding, but
I had a sensitive ear for tone: Dostoyevsky, Tolstoy, Balzac, Defoe, Swift,
Flaubert, Nietzsche and, of course, Strindberg.” Magic Lantern, p. 112. For
his remarks about reading, see the “Monologue” in The Fifth Act, trans.
Linda Haverty Rugg and Joan Tate (New York: New Press, 2001 [1994]),
pp. 3–4.
10. Maud Webster, quoted by Gado, p. 17: “to comfort himself with the thought
of being an Übermensch.” This seems to have been a long adolescent occupa-
tion, for Bergman describes himself during the summer of 1932 as a boy who
was “spotty, dressed wrongly, stammered, laughed loudly and without rea-
son, was hopeless at all sports, dared not dive and liked talking about Nietz-
sche, a fairly useless social talent on the stony shore where we bathed” (Magic
Lantern, pp. 111–12).
11. An interpretation now much disputed and largely discredited.
12. “There is nothing which can be called right or wrong. One functions accord-
ing to one’s needs; you can read that in an elementary-school textbook. . . .
You have a damned need to live, to exist and create life. . . . My need is to
be dead. Absolutely, totally dead.” (Four Screenplays, p. 272.)
13. See Bergman on Bergman, ed. Stig Björkman, Torsten Manns, and Jonas Si-
ma, trans. Paul Britten Austin (New York: Simon & Schuster, 1973), pp. 219
and 181; also 164 and 189.
14. But maybe not. When, in Private Confessions, Karin arranges a weekend tryst
with her lover far away in Norway at a friend’s aunt’s house in Molde (in
1925), the friend, a missionary on leave, meets them there at the ferry. As she
goes to talk alone with Karin, she gives Tomas a copy of Kierkegaard’s Acts
of Love, recently translated, with a commentary, by Torsten Bohlin. “I’m sure

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