Welcome back to the Carreón Cinema Club. Get ready for a double feature of failing marriages and the importance of communication. But seriously, both films are remarkable for their emotional frankness and the artistry of the great Ingrid Bergman.
It is not a coincidence that I am focusing on another glamorous Swede after debuting the Club with Greta Garbo. The luminous Ingrid Bergman, a three-time Oscar winner, couldn’t avoid becoming a Hollywood legend thanks to such films as Notorious, Gaslight, and, of course, Casablanca. However, the discovery of her later works on the Kanopy and Prime Video channels revealed to me how she was one artist who didn’t shy from taking a chance on difficult material, especially at a time where public perception was actually against her.
After representing the perfect leading lady image in the 1940s, Bergman’s popularity took a severe hit in the early 1950s thanks to her relationship with Italian director Robert Rossellini. They had met while working on Stromboli in 1949, kindling a passionate affair. Both were married to other people. More, Bergman was also pregnant with her first child with the famed director. Deemed “scandalosa,” the actress stayed exiled in Europe for several years. Yet, that didn’t stop the duo from working together. Bergman’s collaborations with Rossellini were often compelling and nothing like her films that garnered her much success.
According to daughter, actress Isabella Rossellini said in a recent interview with Reuters, “She showed that women are independent, that women want to tell their own story, want to take the initiative, but sometimes they can’t because sometimes our social culture doesn’t allow women to break away from certain rules.”
Watching JOURNEY TO ITALY on Kanopy only reaffirms her daughter’s sentiments. Coupled with Rossellini’s stature as one of the most prominent members of the neo-realist movement in world cinema, Bergman flourished with portraying complex women who break the rules attached to traditional gender roles.
Much like Nicole Kidman today, Bergman had no problem stripping down the veneers of poise and gentility to reveal her truest self. Her emotional vulnerability resulted in a fascinating showcase in THE HUMAN VOICE, a one-hour televised adaptation of the famed and influential Jean Cocteau monologue. Speaking to an audience of one via telephone, Bergman captures all that can dismantle us when communication with a loved one becomes difficult and unbearable.
I love films that deal with unfiltered relationships and offer real psychology as to why we put ourselves through such trials, even when we face an absolute end. It makes for incredibly beautiful catharsis on film. That’s why Bergman leads this second entry of the Carreón Cinema Club. First up, JOURNEY TO ITALY.
Journey to Italy (1954)
Director: Roberto Rossellini
Cast: Ingrid Bergman, George Sanders
In JOURNEY TO ITALY, Bergman co-stars with George Sanders of All About Eve and Rebecca fame. As the film opens, the signs are evident that the moneyed duo of Kathryn and Alex Joyce may be facing the end of their marriage. Heading by car to Naples to unload an inherited villa, their trip starts as a vacation, a chance to reconnect. Instead, they find their conversations taxed by Alex’s sarcasm and Kathryn’s hair-trigger sentimentality. At constant odds for most of the trip, misunderstandings and jealousy sully the waters further, prompting Kathryn to ask for a divorce on impulse. Where the film takes a stunning turn, however, is when they visit the almost lunar landscape ruins of Pompeii. Seeing the discovered bodies of former lovers encased for eternity in ashes rattles Kathryn to the point that she begs Alex for them to leave. The impact is profound, one that delivers a final scene that is both powerful and unforgettable.
JOURNEY TO ITALY is no travelogue, although Rossellini’s composition of black and white shots is often beautiful and striking. No, the territory covered is all heart and mind. It is a fascinating journey to watch, even though not a lot happens for most of the film until the final act. The non-linear trajectory of the narrative, however, is what gives the story its forward motion. What captured my attention most was how urgent the emotions played throughout. Director Rossellini would tell the actors their dialogue before cameras started rolling, which sounds like a risky endeavor. Yet, Sanders, and especially Bergman, deliver such raw and unfiltered performances, you can only imagine how it felt like working without a net. The possibility erases any chance for overembellishment, never robbing the characters of their truth. They are living it out loud at that moment. That is why JOURNEY TO ITALY is such a wonderful experience to watch, one I hope you enjoy as well. It continues to be available on Kanopy. Take the journey. It is so worth it.
The Human Voice (1967)
Based on the play by Jean Cocteau
Adapted by Carl Wildman
Director: Ted Kotcheff
Cast: Ingrid Bergman
Jean Cocteau’s famed one-act play, has returned to court public attention this year thanks to Spain’s Oscar-winning auteur Pedro Almódovar. The toast of the 2020 Venice Film Festival, Almódovar took a giant creative leap with his adaptation, a short film no less, and in English! For the first time. Ay la leche! Starring the equally fearless Tilda Swinton, the threads of his passion for Cocteau’s have finally flourished. You can see how the story of a woman’s desperate phone call proved influential for his iconic 1988 comedy Women on the Verge of a Nervous Breakdown. As we await the US release of his adaptation of THE HUMAN VOICE, what a pleasant surprise to know we have access to Ingrid Bergman’s interpretation of the role to offer a study of contrasts.
Now streaming on Prime Video as part of its Broadway HD channel, THE HUMAN VOICE finished the one-season run of the ABC anthology series, ABC Stage 67. Bergman stars as an unnamed woman dealing with the emotional wreckage after her husband leaves her for another woman. We are allowed to hear what is probably be the last conversation between this couple, but only her voice. Representing her husband is the cold instrument known as a telephone, her literal lifeline as she makes a desperate attempt to stay connected in more ways than the unpredictable wire. We never hear from him, only seeing clues of his torn picture and a magazine feature image of his new love.
The premise is unadorned, offering an actor a bravura role that lasts just under an hour. Bergman takes full advantage. Chainsmoking and unable to keep her voice was quavering, she turns herself into a human rollercoaster of emotions, rising and falling throughout the often-painful conversation. Forget the part of her being famous; it is hard not to feel uncomfortable for eavesdropping before the famed actress hits specific notes that feel both personal and relatable as the conversation reaches its peak. The audio effects of a clock ticking, dial tones and silences on the other line are often intrusive and heartbreaking, punctuating the reality she’s not going to turn this situation around in her favor.
The look is all 60s television, abstract and theatrical. The camera work is not subtle, and the pauses for commercial breaks are annoying as transitions. Bergman feels a bit mannered at the start. Yet, it is a beautifully calibrated star turn by the end, offering a persona that is real and honest. Amazing what the human voice can do to us when we know it is close to being removed from our spheres of living.
You can see what several artists have taken on Cocteau’s play. Interestingly, Roberto Rossellini directed THE HUMAN VOICE in 1948 as part of a two-part Italian film titled L’Amore with Anna Magnani and Federico Fellini. It is now showing on HBO Max, which I will make a point to watch.
Thanks for reading this second installment of the Carreón Cinema Club, home of films with big feelings! Don’t forget to subscribe to the YouTube channel, as well as follow me on Instagram: @CarreonCinemaClub and Twitter: @CarreonClub. Lots more to share ahead. Keep on reading. Thanks for your attention, mi gente.