Ingmar Bergman Volume 3 [Blu-ray]
Blu-ray B - United Kingdom - British Film Institute
Review written by and copyright: James-Masaki Ryan (26th September 2022).
The Film

Ingmar Bergman Volume 3

When listing the most influential filmmakers of all time, it would be hard to find a list that didn't include Ingmar Bergman. The Swedish auteur became the most recognized name in Swedish cinema through his works as a director as well as a writer, delving deep into the human psyche with dark yet enlightening stories of love and loss, unforgettable surreal images in the midst of straightforward reality, and hypnotic visuals especially that of the extreme closeups of faces. His works from the 1950s were immediate international sensations with critics and audiences alike, while also pushing the boundaries for artistic expression in cinema. But it was in the 1960s that he went further into experimental storytelling and techniques that placed him at the top of auteur directors.

"The Devil's Eye" ("Djävulens öga") (1960)

Satan (played by Stig Järrel) sends Don Juan (played by Jarl Kulle) and Pablo (played by Sture Lagerwall) to Earth for the purpose of seducing a virgin girl before her upcoming wedding day. But things don't go quite accordingly as planned when Don Juan ends up falling in love with the target Britt-Marie (played by Bibi Andersson) who may be a virgin but is quite the aggressor. Meanwhile. Pablo falls for her mother Renata (played by Gertrud Fridh) causing a ruckus at the home while also causing trouble with the pastor (played by Nils Poppe) who also happens to be Britt-Marie's father and Renata's husband.

One genre that Bergman is not particularly known for is comedy, even if a number of his works have some comedic sequences within. His last full pleasantly comedic film was "Smiles of a Summer Night" in 1955 which was an international hit, and Svensk Filmindustri wanted something lighthearted again after a steady string of serious dramas. "The Devil's Eye" plays with both religion and sex with quirky characters with a number of absurdist moments, with the actors getting to shine with facial expression and body movement in a variety of ways. Don Juan has a certain sense of bravado and confidence that is oddly suspicious. Pablo is portly and horny with a strange infatuation for the older woman. Satan himself is the straight man through the endeavor, all the other characters from Hell have their individual oddities. On the human side, the character of Britt-Marie could easily be an early example of a Manic Pixie Dream Girl, a seemingly flawless young woman who can emotionally drag anyone into her fingertips. She may be a seductress, but she doesn't let just anyone have their way with her, as she is still a virgin, yet one experienced with the attitudes of horny men. The way the tables turn in the second half is an interesting take and shows how the men are the most vunerable creatures in almost any circumstance. With its attitude towards sexual liberation for women and the twist in the religious aspect through the eyes of hell, there are a lot of interesting points to the film though it doesn't quite hit its marks.

The film has its comedic moments but they don't quite hit all the time. A few chuckles are made but some of the situations land flat. The family dynamic is also a bit on the weak side and much of the time the story feels like a string of gags that don't quite work. The film was released in Sweden on October 17th, 1960 and was not a particular hit with audiences or with international critics, and was a major shift in tone in comparison to his previous film, which also dealt with a virgin character but met a terribly different fate in "The Virgin Spring".

"The Virgin Spring" ("Jungfrukällan") (1960)

Töre (played by Max Von Sydow) sends his daughter Karin (played by Birgitta Pettersson) to deliver candles to a nearby church by horseback through the forest. Along the way she encounters three travelers. The two older herdsmen (played by Axel Düberg and Tor Isedal) and a young boy (played by Ove Porath) seem like friendly travelers for her at first, but their time together quickly turns evil, as the older men have their way with her and leave her for dead in the middle of the forest. The three continue on their journey, taking shelter in a nearby home, unbeknownst to them is the home of Karin's family...

Based on a Swedish ballad entitled "Töre's daughters in Vänge" from around the 13th century, "The Virgin Spring" was also heavily inspired by "Rashomon" from 1950, which also dealt with a rape and murder in the middle of a forest. While in Akira Kurosawa's film it was about the narrative being unreliable as it was told through differing viewpoints, "The Virgin Spring" takes a singular approach, and also goes further in the form of brutal vengeance. The first half of the film establishes the family dynamic of the Töre's family, with his wife Märeta (played by Birgitta Valberg) and daughter Karin, with a strong male figure, a caring mother, and an obedient yet innocent daughter. Also important is the servants, especially with the character of Ingeri (played by Gunnel Lindblom), who is about the same age as Karin though she is pregnant yet without a husband. Her jealousy of the fairer Karin leads to the unfortunate circumstances of her brutal rape by the two men and her death by bludgeoning. Interestingly the film also shares a narrative similar to Alfred Hitchcock's "Psycho", with the blonde main character being the focal point, only to have the tables turned when the narrative changes to side with the killer. But this is a comlete coincidence as both "The Virgin Spring" and "Psycho" were released the same year, with "Psycho" being released a few months later.

The rape sequence is very uncomfortable to see, whether through the eyes of the audience or through the eyes of the young boy who witnesses the event, and it is intentional that the event is not glossed over or shortened, as it would be paralleled with the karmic finale where the herdsmen meet their ultimate fate. The story may be quite simple with the fact of daughter is assaulted and killed, father finds killers and enacts revenge. But there is a lot more to take in "The Virgin Spring", from the religious aspects of the characters, the rituals that are shown, and the scenes between each of the characters to tie everything together as whole. The second half is quite intense, as the audience knows that the herdsmen are at the slain girl's home and it is only a matter of time until the family finds out the truth. Beautifully photographed and told with true intensity from the actors and the pacing, "The Virgin Spring" became one of Bergman's most influential films, and also one of his most controversial. It was said that at the February 8th, 1960 premiere in Sweden, that fifteen people walked out of the screening. Censorship became an issue with American screenings shortening the rape scene. Regardless of that, the film went on to win the Academy Award and the Golden Globe for Best Foreign Language Film in 1961, and inspired a wave of features that went more or less on the exploitation side, each being more brutal as time went on. While the directly influenced "The Last House on the Left" (1972) has found critical acclaim over the years, the power of Bergman's "The Virgin Spring" can be felt even in non-exploitation features, from its visuals to its structure, and still has the ability to haunt viewers today. The story of a woman's torment and the family's struggle would not only be left here, as Bergman's next dramatic feature would also explore the topic in a differing way.

"Through a Glass Darkly" ("Såsom i en spegel") (1961)

Karin (played by Harriet Andersson), her doctor husband Martin (played by Max Von Sydow), her writer father (played by Gunnar Björnstrand) and her 17-year old younger brother Minus (played by Lars Passgård) take a short vacation on a remote island together. Karin is suffering from schizophrenia and was just released from the hospital. Martin is dealing with her incurable nature that leads to heightened mental and physical issues. Her father is suffering from writer's block. And Minus is sexually frustrated as a typical teenage boy. Their time together is not just bringing the family closer, but also bringing together lust, anxiety, and betrayal as well.

This was the first film by Bergman to be shot on the island of Fårö, which would be featured in a large number of works by the director over the next few decades, as it would also become his home for the next four decades as he fell in love with the place. The beauty of the location can be seen in "Through a Glass Darkly", especially through the lens of cinematographer Sven Nykvist who suggested the location, although the tone of the story would not exactly reflect its nature, going towards darkness in each of the characters. With a minimal amount of characters and a rural setting, Bergman is able to have the audience connect with each of the characters no matter how dark they are internally, causing quite a stir of emotions along the way as each secret is revealed. Karin's father has a distant relationship with his children, though he has a secret that he is writing a story based on Karin's mental condition as his next story. Martin is seemingly taking care of his ailing wife, but he is also taking notes and observing her with this incurable condition. When Karin finds out about what her father and husband are doing, this causes even more emotional grief for her. The only place left for comfort is her own brother, where there is an incestuous affair that lies ahead. "Through a Glass Darkly" is an uncomfortable story of a tormented family, though the cause or the blame is not set on any one individual. Morals are torn apart, though most of the heart is placed on the character of Karin, even if she is the most difficult to fully understand. Visually minimal yet symbolic in metaphors, it is certainly a step in experimental territory for Bergman and one that would be another footprint into the direction for his works.

The performances are stellar, especially from Handersson, and was yet another critical hit for Bergman. Released on October 16th 1961 in Sweden, the film won the Best Foreign Language Film at the Academy Awards in 1962, making two Bergman directed films to win the award for two consecutive years. The film would become the first in a proclaimed trilogy of works, with the next two coming two years later in 1963. While they may share some touches, the trilogy of films are quite distinct works from one another.

"Winter Light" ("Nattvardsgästerna") (1963)

Tomas Ericsson (played by Gunnar Björnstrand) is a pastor of a small rural church. Local fisherman Jonas Persson (played by Max Von Sydow) expresses that he is suffering from loss of faith after hearing that China is developing an atomic bomb. This is also taking a toll on his wife Karin (played by Gunnel Lindblom) who is pregnant. But Jonas is not the only one suffering, as Tomas is also fearing he is in the same situation...

Faith and hope have been constants in Bergman's filmography and that is not a particular surprise given that his father was a strict Lutheran pastor and Christianity had been well part of his upbringing. As with a number of people raised in a faith based household, there was also a time for questioning what faith was and the dangers of one to solely rely on faith entirely. The post atomic age sent fear down the spines of everyone around the world, whether it was "duck and cover" drills in American schools or with the uncertainty of disastrous atomic events repeating, such as how Akira Kurosawa's "I Live in Fear" (1954) dealt with the trauma. Sweden was a neutral nation during World War II, though the aftermath of their neighboring countries were well known. But not all Swedes were unknowing of combat, as it is shown that the character of Tomas serving during the Spanish Civil War and seeing bloodshed in on the foreign battlefield in person. Seeing the horrors firsthand and knowing the massive war that Europe had been through, his questioning of God's intention and involvement, or lack of God's existence at all becomes an internal crisis that is felt within.

The film is more than just a personal faith based crisis, but also stacked with his personal issues with Märta (played by Ingrid Thulin), his former lover as her feelings are still very strong for him. There are visual nods to "Through a Glass Darkly" in the film, such as the spider being a metaphor for God and the guilt ridden lead that feels little hope, though told through a very different light and having quite a different tone altogether.

"Winter Light" was released on February 13th 1963 in Sweden, and was another critical hit for Bergman. While it was not a major awards winner, it was and is still considered a high point in the director's filmography. He followed the film with the third in the so-called trilogy, which would also look at war yet in a very different light and angle.

"The Silence" ("Tystnaden") (1963)

Ester (played by Ingrid Thulin) and Anna (played by Gunnel Lindblom) are two sisters traveling together along with Anna's son, Johan (played by Jörgen Lindström). Arriving in a central European town on the brink of war, they rent a room in a grand hotel where they have trouble communicating to the staff and the people as they do not share a common language. But it is not only is there trouble with the people of the country, but the sisters also have an issue with lacking communication as well.

Bergman looked to relying the film on visuals and mood rather than language for "The Silence", as the title states, is about the lack of communcation rather than one with dialogue. Everything about the film is unrealistic. The way the characters interact with each other, the situations that occur within are all worthy of an experimental art film and not a mainstream hit. There are less than forty lines of dialogue, and much of it is inconsequential with only a few hints along the way. This doesn't count the dialogue spoken by the supporting characters in backgrounds. The characters of Ester and Anna never have a true conversation with one another, instead being closer to soliloquies of their thoughts. It's never explained why their relationship is strained or why their characters are motivated in their ways. Sexual desire vs. repression is a key element to the story, with the two sisters representing opposites in personality and emotions. Aunt Ester is in a way more caring towards Johan, more than his own mother. The sexual nature of the film did bring some controversy, as there was topless nudity along with heavy sexual activity on screen.

There is still an innocent and playful nature to the story when it follows the character of Johan around the hotel, as he plays with his toy gun pretending to shoot people, as well as when he meets a circus troupe of dwarves and have fun together playing and even cross-dressing, bringing innocent smiles to a more serious nature in the surroundings. These sequences are some of the most fun in the film, and like the scenes with the sisters, they are also almost entirely free of dialogue, relying on the fun nature of the surroundings, which make the audience forget about the impending war and see the freedom that the youth can create with the simple things around them. As for rounding out the trilogy of sorts, there are some nods to the previous films, such as the music of Johan Sebastian Bach being played and spoken about is a nod to "Through a Glass Darkly".

Closer to the likes of Alain Resnais' "Last Year in Marienbad" (1961) than any of Bergman's previous films, "The Silence" was seen by Svensk Filmindustri as film with little commercial appear. Expectations were turned around entirely when it became not only a major commercial hit in his native Sweden, but also around the world for its frank sexual nature and positive word of mouth. While uncensored in Sweden, there were some problems in some other countries, such as in American where it was shorted by about ten minutes. Bergman would later return with a film dealing with two opposite females and also feature young actor Jörgen Lindström with art and experimentation at its core, but before that idea, he would interestingly and strangely direct a more-or-less slapstick dark comedy.

"All These Women" ("För att inte tala om alla dessa kvinnor") (1964)

Music critic Cornelius (played by Jarl Kulle) is invited to the estate of a cellist to write a biography. He is greeted by Felix's impressario Jillker (played by Allan Edwall) yet Felix is nowhere to be found. Instead he is greeted by a multitude of women, all of whom had had relations with Felix, all revealing secrets about him as well as having murderous intentions.

Being the first film by Bergman to be shot in color, "All These Women" couldn't be more different from anything Bergman had ever done in his filmmaking career. An homage, or parody of the fantastical hightened comedies of director Federico Fellini, "All These Women" show excess in everything, from its color spectrum, its wildly quirky characters, and extravagant setting with insanely bizarre happenings. So why is it one of the least talked about films by the director? Probably because it is one of his biggest misses. Seemingly close to a number of wacky skits strung together, the film never quite finds the right footing to land all the gags and jokes correctly, and the pacing being wildly off. This seems to be a film that was insanely fun to make with the lavish colorful costumes and setpieces, but in the end it feels like a chore to sit through even with its extremely brief runtime. Like "The Devil's Eye" Bergman isn't able to make comedy as well as he probably had in his mind. He's much better when the comical moments come naturally, such as in moments in his later works like "Scenes from a Marriage" (1973) and "Fanny and Alexander" (1983), where drama takes precedence but smaller comedic moments in scenes shine much brighter in contrast.

Considering his streak of hits before and after, this is a curious misstep in the director's filmography. Released on June 15th 1964, it was panned by critics and audiences at the time and became more or less a curiosity in his list works. But his next film, the true successor to "The Silence" would become one of his most experimental, yet most emotionally enduring and most talked about films of all time.

"Persona" (1966)

Alma (played by Bibi Andersson) is a nurse that is ordered to look after the patient Elisabet Vogler (played by Liv Ullmann), a stage actress that suffered an emotional breakdown and suddenly unable to speak. The two spend time at a rural cottage where Alma tries to get Elisabet to regain her composure by speaking her mind openly about her experiences and life. But while Alma starts opening up, there are questions as to who Alma really is...

"Persona" is very notable for being the first time actress Liv Ullmann would perform in an Ingmar Bergman film, as she would become a new continuous muse for him in a number of productions and also become his life partner for a number of years. Ironically, it was also a film in which she would be basically mute for the entire story. Yet it is her subtle expresions and reactions to the character played by her real life best friend Bibi Andersson, that would carry the film much higher to the masterpiece level. It might seem like Andersson carries the film as her monologues go on and on and she reveals herself entirely, but it is not at all just a one directional story, as it is the unusual balance of the talkative woman and the silent woman that gives a whole.

Like a merging of personalities that blurs the line of reality and fantasy within the mind, "Persona" plays with the audience's minds just as Kurosawa's "Rashomon" did, by making the viewers try to piece the puzzle together even if some of the pieces are missing. The opening sequence, the middle, and end all have visual montages of seemingly random images as well as shots of the film being run through the camera and sometimes burning up, with a disorienting soundtrack that brings uncertainty of what is about to be experienced. It truly is saying that the audience should expect the unexpected. Audiences may have some differing interpretations of the story and outcome, but it is certain that the questioning of existence, the regrets or uncertainties of past experiences and fear of what life will bring are only a few elements that the film touches upon.

With mesmerising visuals, a haunting atmosphere, and unforgettable performances, "Persona" is Bergman at his most groundbreaking, as it would go onto influence countless films and media from Robert Altman's "3 Women" (1977) to David Fincher's "Fight Club" (1999), each having their own distinct twist. For "Persona" it was a major arthouse hit with plenty of praise, winning Best Film, Best Director and Best Actress for Andersson at the American National Society of Film Critics Awards, as well as Best Film and Best Actress (for Andersson and Ullmann) at the Faro Island Film Festival. The dark nature and themes of guilt and response would also creep into his next three acclaimed feature films, "The Hour of the Wolf" (1968), "Shame" (1968), and "The Passion of Anna" (1969), though unfortunately those two films are not included in this set. The final film in the set is a curious television film directed by Bergman, dealing with censorship and theater in a minimal setting.

"The Rite" ("Riten") (1969)

Judge Abrahamson (played by Erik Hell) is investigating an incident of a stage performance that was declared to be obscene. Interviewed are the performing trio - Hans (played by Gunnar Björnstrand), the wealthy leader of the troupe. Headstrong yet vulnerable Thea (played by Ingrid Thulin) is Hans' wife. The cool, yet heavy drinking Sebastian (played by Anders Ek) is the third member, who is also having an affair with Thea. Through a number of interogations, the truths about each member, as well as the workings of the judge come to light.

"The Rite" was produced for television and featured a minimal cast and setting for the story, broadcast on March 25th 1969 in Sweden. Bergman had faced a number of issues with censorship around the world over the years with a number of films. From the frank sexual nature in "Summer with Monika", the rape scene in "The Virgin Spring", the sex scenes and nudity in "The Silence", as well as the erect penis shot and graphic sex talk in "Persona". For "The Rite" it was a metaphysical look at censorship issues and the troubles he had to go through over the years while also creating an interesting dynamic between the main characters. Spaced with separate chapters for each sequence, it is close to a files from interogations like a stage play rather than a continuous narrative structure. It is also interesting to see what was allowed on Swedish television at the time in 1969, as "The Rite" has characters with S&M gear with a topless Thulin as well as massive strapon dildos being worn by the male characters.

Rather than causing more controversy, "The Rite" was met more with middling confusion than anything else, as the story doesn't have a smoothly flowing narrative and the ending having some issues with what it was trying to say, the film didn't seem to quite have the statement that it could have been. It was given a theatrical release in other countries, but as expected, didn't have the success that many of the director's feature film productions had. He would later delve further into the world of television features, with works like the adaptation of "The Magic Flute" (1975) developed for television to acclaim, as well as "Scenes from a Marriage" and "Fanny and Alexander" having extended multi-part series reworkings for television broadcast.

Ingmar Bergman died on July 30th, 2007 at the age of 89, leaving an incredible amount of work as director and writer for film and television which continues to be watched and studied years after his passing. The 1960s showed to audiences and critics that he was one of the most versatile and experimental filmmakers in the world at the time. His filmmaking would hit its peak both personally and artistically during the decade, but he was not at all ready to stop, as the next few decades would also bring more classics and futher acclaim through film, television, and stage.

Note this is a region B Blu-ray set


The BFI presents "The Devil's Eye", "The Virgin Spring", "Through a Glass Darkly", "Winter Light", "The Silence", "All These Women", and "Persona" in the 1.37:1 aspect ratio, and "The Rite" in the 1.33:1 aspect ratio, in 1080p AVC MPEG-4. The 1.37:1 presented films were all restored in 2K by Svensk Filmindustri. "The Devil's Eye" was restored in 2016 from the 35mm original negative. "The Virgin Spring" was restored in 2008 from the 35mm original negative. "Through a Glass Darkly" was restored in 2015 from a 35mm interpositive. "Winter Light" was restored in 2017 from the 35mm original negative. "The Silence" was restored in 2015 from a 35mm interpositive. "All These Women" was restored in 2015 from a 35mm interpositive. "Persona" was restored in 2011 from the 35mm original negative. "The Rite" is an upscale from a standard definition master from Svensk Filmindustri.

Although each the films have been restored with differing elements and in different years, there is a good amount of consistency to be seen with the films and their image restorations. "The Devil's Eye", "The Virgin Spring", "Through a Glass Darkly", "Winter Light", "The Silence", and "Persona" all showcase excellent black and white levels, with minimal if no damage marks to be found, with great detail, balanced greys, and also retaining a healthy amount of film grain. The two films that were restored in HD the earliest, "The Virgin Spring" and "Persona" do have a bit more grain in certain sequences and shows how in a few years that restoration techniques are able to manage grain and weaving better, though both films look excellent throughout. There are obvious damage marks to be found in "Persona" during scenes of animation and news footage to be found and are keeping with how it originally looked.

"All These Women" is the only color film in the set, and while it looks good with minimal if no damage marks to be found and detail being strong, the colors do feel slightly muted with the palate. Though there are some brighter sections to be seen like with the fireworks sequence which do showcase the various colors. Grain is also managed well and having a clean yet muted look throughout.

One of the biggest disappointments is that "The Rite" is transferred from an older master, even though Svensk Filmindustri had remastered it from original elements in 2K resolution, as was used on the Criterion Blu-ray release. While that may detract viewers, it is thankfully a good master free from major damage and having fairly good greyscale. Detail is good and the blacks and whites are well balanced throughout. Unfortunately there are some issues with a bit of flicker and instability in static shots, and closeups on faces do reveal the lack of finer detailin comparison to the other HD transfers found in this collection. Thankfully it is at least in the correct 24fps framerate rather than a PAL master, though since it was a production first televised on PAL broadcast, maybe a 25fps version would have ben truer to the original broadcast. It shouldn't deter people from obtaining the set, but it is a curious choice by Svensk Filmindustri and the BFI to include this unrestored version.

The runtimes are as follows:
* "The Devil's Eye" (1960) (87:22)
* "The Virgin Spring" (1960) (89:57)
* "Through a Glass Darkly" (1961) (89:27)
* "Winter Light" (1963) (80:52)
* "The Silence" (1963) (95:13)
* "All These Women" (1964) (79:56)
* "Persona" (1966) (83:35)
* "The Rite" (1969) (75:25)

Some of the films have additional opening text with restoration notes, some of them have additional end credits so there are some discrepancies between runtimes of the film from differing regions on DVD or Blu-ray.


Swedish LPCM 1.0
Each film's original Swedish audio is presnted in uncompressed mono. Like the image, the sound has also been restored from original elements. For the most part, hiss, pops, crackle, and other damage have been removed for a clean and crisp soundtrack, though there are some minor moments where some hiss could be heard here and there. Dialogue is well balanced with music and effects cues for well balanced audio tracks for each film, with dialogue being easy to hear.

There are optional English subtitles for all the main features in a white font, which are well timed and easy to read. There are some sequences in "The Silence" in which characters are not speaking Swedish are intentionally left unsubtitled.


Ingmar Bergman Volume 3 is a 5 disc set, with the films being on the following discs:

* "The Devil's Eye" (1960) (87:22)
* "The Virgin Spring" (1960) (89:57)

* "Through a Glass Darkly" (1961) (89:27)
* "Winter Light" (1963) (80:52)

* "The Silence" (1963) (95:13)
* "All These Women" (1964) (79:56)

* "Persona" (1966) (83:35)

* "The Rite" (1969) (75:25)

Extras are available on the following discs:


Audio commentary on "The Virgin Spring" with Alexandra Heller-Nicholas and Josh Nelson

In this newly recorded commentary, Alexandra Heller-Nicholas, film critic and author of "Rape-Revenge Films: A Critical Study" is joined by writer and broadcaster and frequent collaborator Josh Nelson to discuss the film. They talk about how and if it fits in the genre of rape/revenge films, female rights in Sweden at the time, influence and comparisons to other films, the backlash from critics and the censorship issues, the adaptation and more. While there seems to be a lot of topics to be covered, the track is dominated by the discussion of the rape scene that it probably would have been best to explore that as a singular topic in a featurette instead, so the commentary would have more breathing room for other topics or topics not covered, such as backgrounds of the cast and crew, more about the making of, and such. Still a very good listen and worth the time.
in English Dolby Digital 2.0 without subtitles

"The Virgin Spring" stills gallery (3:00)
An automated silent gallery with behind the scenes stills and posters.
in 1080p MPEG-2


Introduction to "Through a Glass Darkly" by Ingmar Bergman (1:52)
Introduction to "Winter Light" by Ingmar Bergman (3:38)

Filmmaker Marie Nyreröd spent a great deal of time with Bergman in 2003 at his home to discuss his life and work, which became the three part documentary series "Bergman och filmen, Bergman och teatern, Bergman och Fårö" (2004). Presented here are Bergman discussing "Through a Glass Darkly" and "Winter Light", and also includes some vintage footage intercut as well.
in 1080p AVC MPEG-4, in 1.78:1, in Swedish LPCM 2.0 with optional English subtitles


Introduction to "The Silence" by Ingmar Bergman (3:33)
Taken from the same documentary series as above, here Bergman discusses the surprise success that "The Silence" had around the world.
in 1080p AVC MPEG-4, in 1.78:1, in Swedish LPCM 2.0 with optional English subtitles

"All These Women" stills gallery (4:24)
Another automated silent gallery with behind the scenes stills and posters.
in 1080p MPEG-2


"Richard Ayoade on Persona" interview (11:51)
Actor and filmmaker Richard Ayoade talks with the BFI's Eddie Berg for an introduction to a screening of "Persona" at the BFI Southbank in 2011. From the praises for the actors, the cinematography by Nykvist, the influence the film had on him and others, the originality and much more are discussed.
in 1080p AVC MPEG-4, in 1.78:1, in English Dolby Digital 2.0 without subtitles

Stills Gallery (5:12)
Another automated silent gallery with behind the scenes stills and posters.
in 1080p MPEG-2

US Trailer (2:38)
The original American trailer by Lopert Pictures filled with praising quotes and serious narration for an unsuspecting audience of the time. Lopert Pictures was a leading distributor of foreign features in America since the 1940s, and distributed a number of Bergman films over the years, with many having English dub tracks. The trailer doesn't feature excerpts of the English dub track, which was created for the film at the time.
in 1080p AVC MPEG-4, in 1.85:1, in English LPCM 2.0 without subtitles


"The Men and Bergman" documentary (51:59)
This 2007 documentary features Swedish film critic Nils Petter Sundgren in a roundtable discussion with actors Börje Ahlstedt, Thommy Berggren, and Thorsten Flinck, as well as a separate interview with Erland Josephson interviewed at home, who have worked with Bergman on screen and stage over the years in differing productions. They discuss about the differences between male and female characters within his films, favorite moments and behind the scenes anecdotes, the artistic atmospheres of the sets, and much more. Also included are clips from his films, his television production, as well as rare footage from stage productions. Note this documentary is also available on the 5-disc "Classic Bergman" Blu-ray set from Artificial Eye in the UK.
in 1.78:1, in Swedish Dolby Digital 2.0 with optional English subtitles

A 96 page book is included, with essays on each film, film credits, special features information, transfer information, acknowledgements, and stills. The first essay is "Sex, Sin, and Religion: The Devil's Eye" by Diabolique Magazine's Kat Ellinger. Next is "Hope Springs: The Virgin Spring" by critic and author Catherine Wheatley. This is followed by "A Mirror Cracked: Through a Glass Darkly" by writer and editor Claire Marie Healy. "A Winter Tale of a Frozen Soul: Winter Light" is next, written by Jannike Åhlund, chairwoman of the Bergman Center Foundation. "The Abdication of God? The Silence" by critic Philip Kemp is next. This is followed by "Genius? It's the Ability to Make a Critic Change His Opinion: All These Women" by writer and lecturer Ellen Cheshire. Then comes critic Geoff Andrew's "Meanings Beyond Words: Persona". Finally, there is "A Darkness in Between: The Rite" by film tutor and author Andrew Graves. Each essay has quite a lot of information about each film and are exoectedly well researched and well worth reading for further thoughts, even with the lesser films in the set for more appreciation.

BFI trailer for "Ingmar Bergman Volume 3"

Bergman's introduction for "Winter Light".

Bergman's introduction for "The Silence".

Other notable clips:

The Oscar for Best Foreign Language Film in 1961 for "The Virgin Spring".

The Oscar for Best Foreign Language Film in 1962 for "Through a Glass Darkly".

TCM introduction for "Through a Glass Darkly" by host Robert Osborne.

An interview with Bergman, Andersson, and Ullmann on "Persona".

"Ingmar Bergman's Cinema" montage by The Criterion Collection.

All eight films are seeing their Blu-ray debuts in the United Kingdom in this set. Each of the films were previously released in the United Kingdom on DVD by Tartan Video, with almost all of them having basic text based extras, trailers, and little else. On Blu-ray, they're also available in the United States in the 30-disc "Ingmar Bergman's Cinema" boxset from 2018, in addition to "The Virgin Spring" and ""Persona" having individual releases, and "Through a Glass Darkly", "Winter Light", and "The Silence" also being available in a trilogy box. The Criterion releases of the films have their own exclusive extras, with extensive vintage and newly created materials that differ from what is found in this BFI boxset release. Sadly this doesn't cover all of Bergman's output in the 1960s, as the sole Bergman horror film "The Hour of the Wolf" (1967), the brutal "Shame" (1968) and the emotional "Passion of Anna" (1969) are not included. All three received good DVD releases from MGM many years back, and hopefully they will get UK upgrades sometime in the future. All three are available in the US Bergman Blu-ray boxset, though lacking the MGM produced extras.


This set is limited to 5000 copies.


"Ingmar Bergman Volume 3" covers eight films from the director's most experimental period of films, ranging from slapstick humor to identity crisis to the questioning of religion and much more in between. Some absolute classics are in the set as well as some that are not, with great transfers for all the films except for the strange case of one film having to use a standard definition master. Plus it has a good set of informative extras including a very lengthy book. Absolutely recommended.

Note the ratings for below are averages for all eight films in this set.

The Film: B+ Video: A- Audio: A- Extras: B- Overall: B+


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