- [Pia] Ingrid Bergman had a freshness and vulnerability. She was able to project that
quality all of her life. Millions of movie fans recognized it and adored her for it. But Ingrid the woman was more complex. My mother sometimes
compared herself to a train moving down the track. Nothing and no one could stop her once her mind was made up. Whether it concerned changing
her looks, a film role, a marriage, banishment
from her adopted America, or separation from her children. She had a determination of steel. One could call her stubborn or one could say that above all she trusted her own inner voice. She would not listen to
the guidance of others. Those of us who lived with her knew this and when, toward the end of her life, she endured serious illness, Ingrid Bergman was determined to live and to die her own way. - [Ingrid] I was so
happy to have gotten out of reality and coming to my world of imagination that I had lived with since I was a child, that I felt at home. The camera never frightened me. I have never had any fear. - I've thought about it and it seems to me that
my mother was fated to be an actress in a certain way because the way she saw her own family was always through a lens or in photographs. Her father, his name was Justus Bergman, was a painter and a
very early photographer and he had a photographic
studio in Stockholm and he used my mother a lot as a model so when she was young he would pose her either holding a newspaper
or putting on glasses or a funny hat and he took moving pictures of her when she was one and two years old. My mother had a little bit of film footage of her own mother, but
that's the only memory that she ever had of her mother. Friedel, my mother's mother, died when Ingrid was only three. She has film showing her as a child going to the graveyard
to see her mother's grave and I know that my mother
looked at those pictures over and over again. And then her father died when she was 13 so all she had left of her father was his photographs of her
and the moving pictures. - She always had a
photo of them by the bed and then when my mother died
and we collected her things we noticed that it was
full of traces of her lips. She probably had been kissing them. - [Pia] That must've been the closest that she could get to family life and it was always seen through a lens. Always seen through photographs. When she looked at her father it would've been through
the lens of his camera. - [Ingrid] Yes, I was a very sad child and very lonely and how I saved myself was to invent the characters
that I could talk to because I was terribly shy. - [Pia] Sometimes it doesn't affect you when you're somebody else. When you could put on the
clothes and the character and the words of another person. - [Ingrid] Sometimes I was the poor beggar and sometimes I was the lonely mother and then as I grew a little older I started to read things
and learn by heart. Poems, always very dramatic poems and I read monologues of plays or I took pieces, just a short story and I dramatized it. My father, he took me to the opera. He wanted me to become an opera singer and I was very unhappy about it and I took singing lessons. - [Isabella] At the beginning she thought she was going to be a singer because she had never seen actors. She grew up at a time where
there was no television and very little films. So she was brought to the opera and when she saw those people on stage she wanted to go on stage and sing and then one day she was
brought to the theater and she saw people
speaking and not singing and she said, oh my God
I don't have to sing. I can just act, that's what I wanna do. - [Ingrid] And that is
how I became an actress not knowing what I was doing was acting but I always lived with
all these characters in my fantasies. - [Pia] My mother was
15 when she found work as an extra at the movie
studio in Stockholm. She said she could not
believe that she'd been paid to have so much fun. At 17 my mother was
accepted into Stockholm's Royal Dramatic School but the prospect of five
years more schooling was not appealing. The memory of working at
the film studio was vivid and when the offer came
for a speaking part in a move Ingrid took it against the advice of her teachers. - [Ingrid] They were so angry with me when I wanted to leave. But, you see when you are
young you are in a great hurry and I was so anxious to
right away get big parts and be a well known actress. Sure of myself I was. I was so happy to have
gotten out of reality and coming to my world of imagination that I had lived with since I was a child that I felt at home. The camera never frightened me and everybody thought it was very funny when I did my very first scene that I was going around so
happy and not at all frightened. That stayed with me. I have never had any fear. - And I think I heard her say, well see I always knew I
was gonna become famous. Which I thought, shocked me. I said, well this sounds so pretentious and my mother was
anything but pretentious. She was very simple, you know. There was a simplicity about her that was terribly disarming. I can understand wanting to
know since you are a child wanting to be an actor or
wanting to be a musician but to have just absolute certitude in total modesty that she
was gonna be so different that she was going to be
noticed for her differences. - When she married my father she was still very much a girl. She was 18, she was living with relatives, they were protective of her. My father was teaching dentistry when he met my mother. My father I think represented very much stability and knowledge
and somebody who seemed intelligent and capable. And I don't think she'd been out a lot. It's understandable why my father would fall in love with
her, she was very beautiful and had that vulnerable
quality and that youth and talent and enthusiasm. She had a wonderful sense of humor. She was just fun to be with. One of the things my
mother kept all of her life was a childlike quality and I think that all
great actors and actresses have that too. They are able to be children and that feeling of, let's play. My mother carried that
through all her life. Let's have a good time. My mother was fixated on her acting career and I don't know how much
she sentimentalized my birth. As I knew her she was most happy on a set. I think when she wasn't working she felt she wasn't doing anything. She was wasting time. - I just thought that she
had an incredible drive. She was an artist, you know and I always imagined
an artist being somebody who needs to do, paint or write. They cannot help it. - When she was very young she actually was very vulnerable and she retained all her life the inner core vulnerability. After she began to hear her voices and she began to assume the
garb of other characters she was able to go into the world with this force that she also had. A driving force, seeing one path, knowing where she was going, being defined by her work
clearly right from the beginning. The Swedish film,
Intermezzo brought Ingrid to the attention of American
Producer, David O. Selznick. It happened because of the
instinct of his assistant, Kay Brown, who would become my mother's lifelong friend and agent. - Mr. Selznick sent me to talk to her and to get a contract with her and I kind of worried as to whether or not this was a wise decision on her part. At any rate that night we
were walking in Oldtown and I had the courage to bring it up. I said, you sure this is the right thing that you want to do? You've got a wonderful
husband and a lovely baby and you have all the work that you want, and she said yes it was because she wanted challenges in life and work in life. - [Pia] There was little
doubt in my mother's mind. The move to the United
States would change our lives but she saw it was the
chance of a lifetime. One she believed she had to take. In May, 1939 Ingrid Bergman
arrived in New York. She was 24 years old
and she traveled alone carrying one suitcase. Producer, David O.
Selznick was eager to meet the young Swedish actress he had agreed to star in
a remake of, Intermezzo. My father and I remained in
Sweden where he was in training to become a brain surgeon. - [Ingrid] I don't know
where I got my determination and strength from. I was so young and I wanted
so much to try my wings in Hollywood, but
immediately I was considered too tall and they were
going to do something with my face and change my name. And when I heard all that
I got terribly frightened and I say I want to go back, I don't want to do all that. So I refused, and refused, and refused and then they accepted my
name and what I looked like. (operatic music) And then Selznick looked at
all the tests that he did before Intermezzo and
decided that the left side was the best side. - A day to remember always. - I can't bear to see it end. And so whenever we had
a closeup in Intermezzo it was always that side that
was turned to the camera. I arrived in Hollywood
exactly at the right time because they had all these
actresses that were so made up and everything was so phony in a way and I came there and I
was completely natural. - [Pia] Once my mother then
came to the United States and started working and was successful in few of her early films she began to express herself more and more about what she wanted to do and the kind of movies she wanted to do because the way she was
being presented to the public was something like a Swedish milkmaid. Goodhearted, sweet family girl just home, you know, all the time. And they didn't know what to do with her because when they couldn't
turn her into a glamour puss they sort of decided, okay
let's go with the country girl. - I was just the simple girl, the refugee and the good girl and I got very, very tired
of always being so good. When they cast me in
Dr. Jekyll and Mr. Hyde Lana Turner was going to
play the little barmaid and I was going to play
Dr. Jekyll's fiance who was a very nice girl and I was by then so fed up with it and terribly worried because
I didn't want to be typecast I wanted to be an actress
and play everything. You aren't half a fast one aren't you? - I forgot to mention my
friend and I are physicians. - Physicians? - Doctors. - Doctors? Oh go on (laughs). Oh I thought you were a couple of toughs. - No, no, half the leisure. - Oh and here I thought. And I was terribly pleased
because more people told me you were not in that picture, no. And I said who was it then? Well, I can't remember her name. They didn't recognize me. Here is hoping that Dr. Jekyll thinks of his Ivy as I know he'd like to. - [Pia] The next part my mother played called upon her to choose
between loyalty to her husband and romantic love. My mother had no idea that
the picture would become a film classic, Casablanca. - Go ahead and shoot,
you'll be doing me a favor. - Richard, I tried to stay away. I thought I would never see you again, that you were out of my life. (dramatic music) The day you left Paris, if
you knew what I went through you knew how much I loved you, how much I still love you. - [Pia] During the shooting of Casablanca my mother's mind was
really on another role, Maria, in For Whom the Bell Tolls. Her new short hair was
copied by women everywhere. - [Narrator] Here in the rugged mountains of a war torn country a man and a woman from
two different worlds found an eternal love. The incomparable Bergman as Maria whose close cut hair was a symbol of shame until he kindled the passion that burned away every dark memory. - If there's nothing to do for you I'll sit by you and watch you any other nights we'll make love. - You are shameless. - [Pia] Critics called her luminous and she was given her first
Academy Award nomination. In Gaslight my mother
is as fascinating today as she was in 1944. - Oh but Elisabeth, but you saw him. You opened the door for him yourself. Say it, Elizabeth, say it. - No ma'am, I didn't see anyone at all. - But he was here I know it, I... - You see how it is, Elizabeth? - Yes sir, I see just how it is. - I couldn't have dreamed it, I couldn't have dreamed it. I couldn't have dreamed it. I couldn't have dreamed it. - It was a lovely performance and for it my mother won
her first Academy Award. That idea that you can have it all is a fallacy. You can't have it all. My mother when she came to America had to immediately face that dilemma and face that dilemma
over and over in her life. Whether or not to stay with her children or whether or not to pursue her career. It so happens that the
career was in Hollywood and it so happens that my father was going to medical school
in Rochester, New York and I stayed with him. It was deemed that, that
would be best for me. My mother came to visit occasionally but she spent most of
her time in California. Eventually we all went to California, we all lived in Beverley Hills. My mother then traveled and was away and there was always this pull for her between how much time
she could spend at home and how much time she
was to spend on her art. So called, real family life
was never as real to her as what was happening on a set. And the people she met on the sets I think became substitute family and I think people on a set
are a better substitute family sometimes than your own family because I think very often the director is like the father figure, and maybe there's an
older actress who becomes the mother figure and then there are the brothers and sisters who are all the other actors but those people never present as much a problem as your
real mother and father and your real husband
and your real children. (dramatic music) - I take it this is your first honeymoon. - Yes, I mean it would be if it were. I think making a move is a vacation, I always call it my vacation. It is absolutely no work at all. To get up in the morning is not difficult. Then you are taken care
of and all they ask of you is to get up there and
say a couple of lines. (dramatic music) There was so many restrictions. I don't know how they ever could make as good movies as they were. - I'm sorry to intrude
on this tender scene. - I knew her before you did,
loved her before you did. I wasn't as lucky as you. - [Pia] Ingrid Bergman's
seven year contract with David Selznick came to an end. During that time she
took parts like the nun in The Bells of St. Mary's. People responded to her
performance with total belief. My mother then became
set on playing a saint. - I think she identified
to a certain extent to Joan of Arc. Not because she felt she was a saint but because this was a 14 year old kid from the country that
became a warrior and fought for France against the English, and I think that kind of
call that Joan of Arc had was the same kind of call
that mother wrote in a diary when she was 12. I have to keep a record of this great life that is ahead of me
because I'm going to be one of the most important stars. - [Ingrid] Naturally as a
man wants to play Hamlet, a woman wants to play Joan of Arc. And when I was a child I
must've read about her in school and then I started to
collect medals and things and I waited and waited
and talked to many people and no one was interested. And one day I got a telephone
call from Maxwell Anderson. He said I would like to
have you for a play about Joan of Arc and I said that's it. You don't even have to
ask more, I'm coming. - [Pia] The success of Joan
of Lorraine on Broadway enabled my mother to make
the film, Joan of Arc. The story of the French
foreign girl who followed her inner voices, even
though it meant death. My mother not only put her
money in to the picture but also her whole heart. (trumpets) - [Narrator] Bergman, beautiful,
bewitching, breathtaking. - God has spoken to me
through his messengers and it is his will that I come to aid you and that you'll be king of France. - Don't trust her my Lord. - I'm trying not to trust her. But every time I look into her eyes I believe what she says is true. - We did the absolute honest version that we could find and with all the combings of hair I think it should have been rough. Everybody came up and smoothed you out and it was very glossy,
even the battle scenes. They're beautiful but
not in the right sense. In God's name strike, strike boldly! And the censorship was so hard on us that you couldn't do anything that was really down to it. - [Pia] My mother was deeply disappointed in the reception to Joan of Arc as well as to some other
movies she made in those years. She was becoming
disillusioned with Hollywood and her marriage to my
father had become strained. This is when she first saw the work of Italian film maker, Roberto Rossellini. - [Ingrid] I happened
to see a picture called, Rome: Open City, and it so struck me. It so moved me, it was the real feeling and people were real, and
that wonderful human feeling came across the screen
that was hard to find. I didn't think Mr. Rossellini
would ever get enough courage to write to me because I was in those days very high on top of the box office. He wouldn't possibly get the idea that I would like to
come to Italy and make one of his little pictures and, you know, for very little money. So I had to tell him
that and I didn't know how to do it except write a letter. - [Pia] My mother had left home many times for other roles. Why should this be any different? But this time it would be
years before she would return. Again, I remained with my father who was then a neurosurgeon
in Los Angeles. I was 10 years old. Ingrid Bergman arrived in Italy in 1949 to make a picture directed
by Roberto Rossellini, called, Stromboli. But the movie itself
paled into insignificance compared to the world scandal
that would soon break. - [Ingrid] We had a story outline and then the dialogue was always written as we went along. My leading man was a fisherman and he thought he was
going to work in the crew. He had no idea that he was
going to become my leading man. Mr. Rossellini didn't like actors and he wanted real people. I said, you know all
the close ups has to be from this side. And he said, are you out of your mind? I shoot my picture the way it suits me. I don't care which side of
the face it's going to be on. And from then on I
threw it out of my mind. - And I think besides a great filmmaker she discovered this great, generous man and mother has always been a little bit of a scared creature. You know, she was always very shy and a little bit scared of people, a little bit afraid of authority. She was very independent but
she like a child, you know. Like a child would stand her ground but would not fight back and father came with
this immense generosity, immense lightness. You know, the world was
out there for him to enjoy. You know, and I think she
came from a Swedish background that taught her the world
is out there for you to obey, to bow, to be respectful. My father never thought of that. In fact it was even
considered unrespectful, not that I consider him unrespectful but there were no rules for him. It was life, you know. I thought he brought so much optimism. So much vitality and a
great sense of adventure. - [Ingrid] But it was a
marvelous way of getting away from everything that I
wanted to get away from and that was all the ease. Here was nothing that was easy. In Hollywood in those
days was like a dream. If you wanted pink elephants,
you'd get pink elephants or you get trained flies or anything. Call up and we get them for tomorrow and all the talent was there and enormous amount of people in the crew and I was very spoiled which was the complete
difference when you came to Italy and you did everything yourself and in a hard way, but
that is what I wanted. And I got what I wanted. - You know in 1949 my mother fell in love with my dad and she was
married still to Peter. That created an enormous scandal and then to make it worse you know, a few months later she got pregnant. She wasn't married and she
wasn't even divorced from Peter. That created a scandal
that was of epic dimension. - [Ingrid] I certainly
thought there would be some write ups in the paper
that I wanted a divorce but I certainly didn't
expect for months and years to be headlines and on the first page. - [Pia] When she had a child
with Roberto Rossellini and she wasn't married to him why it was such a scandal and disaster. If it had been one of the actresses maybe who'd always played the bad girl, they would've said,
that's right in character. Because Ingrid Bergman was so convincing on screen
as virtuous, submissive and self-sacrificing her off screen behavior was a shock. Her former admirers
felt duped and betrayed. - [Ingrid] So many people tried to tell me that it was their enormous love for me, that their love turned to hatred because my image was the
good, wonderful woman who had played, but
they forgot that played the saint and a nun. They forgot that I was a woman and maybe not at all
what I did on the screen. - My mother stayed on in Italy with Roberto Rossellini
after she made Stromboli. She was denounced in Congress by a United States Senator who declared her persona non grata. My father and I lived in California with the enormous public outcry. After strange legal
maneuverings my mother received a Mexican divorce and a Mexican marriage with stand-ins acting for
herself and Roberto Rossellini. My father won custody of me in Los Angeles with my cooperation. He was desperate. I felt I was all he had left. Meanwhile in Italy my
mother's family was growing. In 1950 Robertino was born. Two years later my mother
gave birth to twin girls, Isabella and Ingrid. You know, when you're a child you think that it's like a story. You think everybody has
control and they can make up their mind about their destiny and say, well you did this
wrong and you did this right. Yeah, but life isn't like that. As you get older, particularly after you
have your own children then you become able to say, oh it's more complicated. Now I begin to understand. Now I understand why marriages fail, now I understand why people don't get along with their children. Now I understand why there are absences or their presence or their difficulties. As a child you can't see that. - It didn't hurt me
the fact that my mother wasn't there everyday. In fact I kind of liked it
because I was very noisy and when mother and father were at home they always told us to shut up because they were on the phone or they were reading something. So when they were gone the house was mine. I could make as much noise as I wanted. So I didn't mind them coming and going 'cause I liked her affection and I never felt that I wasn't loved. I think it had been a little
bit hard on my sister, Ingrid who maybe has a little
bit of mother's character. She's a little more shy and I think it had been very hard for Pia who was prevented to see her for years because of the divorce with Peter. I was a kind of a bulldog. So I really didn't need
their presence every day. When I was about 12 or 13 year old they found out that I had
a deformity on the spine called, the scoliosis
that needed to be operated and at the time it was a major operation and I'd been in a cast
and immobilized in bed. I was sick for about two years of which a year and a half in a cast and my mother stopped
working and was at my side all the time. My father was a total avant-garde artist. The only thing that interest him was to forward in media. Instead for my mother was if you want more of the establishment, but by that I don't
mean anything negative, more, take a theme and develop
it until you master it. - No, if I went back home I would save neither
myself nor the others. - The avant-garde thing
it's a hard way of life. There's no money, there is always danger, there is always bad reviews and I think she could not sustain the kind of attack that came
not only with the scandal but even with the unsuccess
films that they had done. - Only when you're completely free are you at peace with the community. Those who are bound to nothing are bound to everybody. - [Pia] When Roberto was
having a particularly difficult time raising
money for a new film he decided to direct Ingrid in a touring production of Honegger's, Joan of Arc at the Stake. The entire Rossellini family
toured the capitals of Europe. (operatic music) (speaks in foreign language) The project was not a financial success. For years Roberto had
been very possessive. He refused to consider that Ingrid might work with another director. Finally he did agree and my mother went to France to make, Paris Does Strange Things with director Jean Renoir. But the picture that was
to return Ingrid to triumph and eventually back to America
was yet to come, Anastasia. (dramatic music) My mother won more than her second Academy Award with Anastasia. As her old move self,
defenseless and vulnerable she regained the affection
of the American public. - I am Ayana, why not tomorrow Lisa? Why not Tatiana? Yes, why not Tatiana? No, I don't want this, I want to be me. Whoever I am I want to be me. I want someone to tell me, someone to accept me. - [Pia] After the absence of seven years she returned to New York to
receive an award for Anastasia. Despite the intense
questioning by the press my mother had no apologies. - [Reporter] Ms. Bergman
did you have any criticism of the way the press in general handled the story of your
life in the past year? - Oh sure, I had some criticism of it because I think the person
has to have a private life but I also know that if
you choose being an actress you have to take both sides of the coin. So, there it is. - [Reporter] Looking back on it do you have any regrets about anything that you've done in the
last few years Ms. Bergman. - No, I have no regrets at all. I regret the things I didn't do. Not what I did. - [Reporter] Could you
tell us some of those? - No, I think my life has been wonderful because I have never... Well I have done what I felt like. I was given courage and I was given a sense of adventure and
that has carried me along, and then also a sense of humor and a little bit of common sense. It has been a very rich life. - My mother asked me not
to visit her in New York but suggested that I fly to
Paris the following summer. I was 18 then and could
make my own decisions. Afterwards we went to Italy and that summer my mother
had all her children with her for the first time. I enjoyed the idea of having
this big kind of family that would be all together with lots of half siblings, and that
we could all get together and you know, we really could. - And Pia came, and became
incredibly fond of my father and lived with us. And to us he was fantastic
'cause we were very Italian kids, you know. America was still very far
in the 50s when we grew up and to have this
fantastic American sister. Blonde, wearing pants, that was a big deal in Italy in the 50s doing sports, horseback riding, skiing. I showed her off like crazy at school. - [Pia] Although it's wonderful
to have a parent around you can be raised without having a parent around every minute you realize later. I think all of us children
realized the thing she had to contend with. The forces in her life,
the call to perform. Her need to be in a contented family which was on the set. I remember when she used to come to Italy when I was living in Italy there. She would come from France to
see how things were goin on and she would come in, and of course when you've
been away and you come home the people who are there say, oh this is broken and that's broken. You gotta fix this,
you gotta pay for that. Well, my mother would last
for about six hours with this and she would say, I have to leave. I just, I can't take it. - I think that the guilt
toward the four of us children wasn't so much that she was an actress and she was working but it was how could she have avoided fighting with Peter, Pia's father, my father and how this fight became
incredibly violent. - [Pia] My mother and Roberto Rossellini had made five films together. None had been financially successful. After seven years and the
birth of three children their marriage had come to an end when Roberto fell in
love with another woman and she had his child. - She wondered if there was anything that she could've done differently to keep a peace the rage of the fathers. - In Paris my mother's agent, Kay Brown introduced her to a
fellow Swede, Lars Schmidt a theatrical producer. He was to be her third husband. Another divorce and another custody fight ended with my mother's younger children remaining in Italy with Roberto's family. My mother settled in France
with her new husband. Once again she lived
in a different country than her children. I never heard my mother
say that she thought her years in Italy were tragic in any way. I don't think she thought that. It certainly might seem that way if people were just looking at her career and saying, well what
happened to the career? Well, her American career ended, but you know when she was in Italy she was making movies there with Roberto. They were working and I think her life was exciting. I think she thought it was exciting and I never heard her say she thought it was anything but. It was a wonderful time for my mother. A new marriage and a renewed career. Frequently acting in plays
and television dramas produced by Lars. There would be profound
changes in the years ahead, but her need to act,
that would never change. My mother loved all the men that she'd been married to, always. She didn't have enemies. She didn't have relationships with a man and then not like him later and say, oh it was all a mistake. I don't thing she thought
any of her marriages were a mistake. After 12 years together,
Lars Schmidt and my mother were divorced as a
result of a relationship he had with another woman. But Mama remained friends
with Lars until her death, much as she had remained
friends with Roberto until his death. She knew how to forgive
and I admired her for it. - If I would go to each
person that admires my mother and I'll ask to describe it she would probably come
up differently each time 'cause I think that is the gift she gave for everybody to shape
her in a certain way, the way they wish. And for me, more than
anything she was my mother. My Mummy, you know the
one that took care of me when I was sick, the one that would say, you know, your tee shirt is really
too dirty, you gotta change. The one that gave me the
sense of being practical. An honesty beyond belief. A sense of justice. - I remember I took my two sons to see Bells of St. Mary's it was playing right over here on Broadway. I said, come on we're gonna see Grandma is in a movie,
I want you to see her. She comes out on the screen. Well, she was in her
early 20s and she's this enormous beautiful head
and they kept saying, where's grandma? I said, that's grandma, that's grandma. They're going, where is? That's grandma? In the early 70s my mother
moved to a flat in London. For the first time in
her life she lived alone. My mother still got movie roles, though some were too far
from the image she did best. Mama was in her early 60s when she learned she had breast cancer. I remember it very well
because we'd been out riding a bike with my youngest son when she told me and the doctor had told her
to go right into the hospital but she had plans, so she didn't do that. She went on with her plans because she had that, you know, she heard her voices that told her what to do and she did pretty well
what she wanted to do. She finally went to a doctor in England and they performed the surgery there, her first surgery. We all went to see her in
Paris after the surgery. My half brothers and sisters and we stayed with her
for awhile and she was in really wonderful humor. She didn't tell a lot of people. She was very brave about it and she said, well we'll
just go on, you know. We'll just go on. And she did. When my mother appeared in, Murder on the Orient Express
she had a supporting role and she did it with a
funny, slightly kooky manner that people adored. She dared to look old and drab and she won another Oscar for it placing her in that ogust category of three time Oscar winners. Yes, my mother did not
feel sorry for herself. It's as simple as that. Self-pity was not one
of her characteristics right to the end. You could call that
courage and I guess it is, it is a kind of courage. - No, I don't think she
ever perceived herself as a victim. I think that sometimes people saw her as a victim and I seen her as a victim
because I have seen in her, my mother's eyes, great
pain, great anxiety. I've seen it mostly about her disease but also when she talked about Hollywood and the way she was chased away. Her inability to see Pia. - It was not in her
vocabulary to say, poor me. Why did this happen to me? She just never said things like that. She just went on, this train keeps going. When the Swedish director, Ingmar Bergman and my mother, when they
made, Autumn Sonata together the two of them put together
their family histories, so to speak and they made a story about
a woman who has a talent, a great talent and the crisis in this
woman's life is whether or not to use her art, fulfill her God given gift or stay home and take care of her child. They met and the first thing
she started to tell Ingmar, she didn't like the script, she didn't understand the character, this could never happen. And he was like, stunned. I mean, he's the maestro you know. But that was very much my mother. You know, I've read
the Mommy Dearest books and the books about children who have had many complaints
about their parents behavior. I don't think you're going
to see one of those books from any of my mother's children and she wasn't there all the time. So you might say, well there
would be a book in that but nobody is going to. None of her children are
going to, and you know why? Because we all loved her. She was fun, she had a good heart. She had a capacity that
was very endearing. You know, but it's the
iron underneath that. I mean, you wanted to help her and then she'd be stubborn,
but that's alright, that was her character
and I think her children accepted that, that's the
kind of person she was. A few years later, Mama
had a second mastectomy. In addition her arm
became immensely swollen which can sometimes happen with the removal of lymph nodes, so she wore her arm in a sling and called it jokingly,
my dog she had to carry. - Once she knew she had cancer I think she decided pretty much on her own how much chemotherapy
she was going to take, how much she was going to go forward with medicine that were
going to debilitate her, and she was in her shy simple way she was very determined, and I've always respected her for it. And when she was asked to do Golda I remember she laughed and she said, how can a big, tall
protestant Swede can play a small Jewish prime minister? And then Golda died of the
same disease of mother, breast cancer, and she
read a few things she did. Golda was so far from my mother, this woman of politics, a
woman of great intellect. This woman sure of
herself, calm, a leader. My mother was timid,
frightened, strong somewhere but nothing showed and
then she played Golda with the gravity that this
fantastic lady exuded. She just had a wig. She didn't put any false nose, she did it just by exuding
something that was inside of her. She would wake up two
hours before going to work and she would put the arm up so that it would un-swell somewhat. And she was able to move
a little bit the hand. Then she would stay hours in the middle of the Sahara Desert as waiting for lights
and makeup to be done with her arm up, then
to quickly do the scenes and then hang her arm again. - The Jewish children in Palestine, the Sabris are a miracle. I know if you had seen these
blessed children of ours you would want every child here to have the chance to grow up like them. Erect, confident, strong and pure as the sun of Palestine. (applause) Well, if I'm supposed to
be the mother of Israel, earth mother, whatever kind of mother, I have the responsibility
to be a good one. And what a good mother
would say to you now is, it's late, everybody's tired, go home. - For her performance Ingrid
received an Emmy award. It was given posthumously. I know that she would be very
proud of this award tonight because of what it meant to her to film it and I am very grateful to be here to be able to thank each
and every one of you for this final tribute to my mother. She will live in my
heart forever, thank you. (applause) I don't think that the
life she had was one that she would've said, this
is my plan for my life. I don't think it was. I think she, you know, had regrets. But her life began and ended on film. Her life in front of a camera. Whether it was the
photographs her father took of her as a child or
working with Ingmar Bergman at the end of her life. That was Ingrid Bergman. Her life was a demonstration of herself as seen through a camera lens. I believe that's how she saw herself too and I believe she always craved to get back in front of the camera, that's where she wanted to be. So if you say, did she get
what she wanted in life? Absolutely, that she got. Ingrid Bergman's life
ended on her 67th birthday. August 29th, 1982. She lives on in her children's memory and forever on celluloid
where it all began.
