Bergman: A Year in a Life is a more robust and illuminating piece of work. The year Magnusson has chosen to build her film around is 1957, which makes sense when you look at what he achieved in the span of 12 months. Two of his most beloved masterpieces (The Seventh Seal and Wild Strawberries), a film for television, a radio play and four ambitious stage productions, all while juggling an increasingly complicated personal life.
It’s an output that might have impressed Fassbinder, who famously blitzed his way through projects with a cocktail of drugs, but Bergman’s furious work rate was apparently sustained by nothing more stimulating than yoghurt and biscuits. “He didn’t have the top one, in case someone touched it. Instead he’d fiddle one out from underneath,” Lena Endre says, recalling the packet of biscuits that was permanently within reach on set.
Read the rest of my review at Little White Lies
