Ingrid Bergman was not just an actress, she was a cinematic icon who redefined beauty and talent in the film industry. Born in Stockholm, Sweden on the 29th August 1915, Bergman charmed audiences globally with her luminous on-screen presence and genuine acting style. With a career that spanned five decades, she became one of the most influential actresses of the 20th century, leaving an indelible mark on classic Hollywood cinema.
Ingrid Bergman’s early life
Ingrid Bergman was born on the 29th August 1915, in Stockholm to a Swedish father, Justus Bergman, a Swedish photographer, and a German mother, Frieda Adler. Named after Princess Ingrid of Sweden, she spent summers in Germany and became fluent in German. Raised as an only child after losing two siblings, Bergman’s mother passed away when she was two, and her father’s photography became a formative influence. Despite his wish for her to become an opera singer, Ingrid’s passion for acting emerged early.
She attended the prestigious Palmgrenska Samskolan but was neither a popular or particularly academic student. Her father’s untimely death when she was 14, followed by the loss of several guardians, marked her early years with trauma. Moving between relatives, she found comfort in acting, often wearing her deceased mother’s clothes and performing in her father’s studio.
Bergman’s multilingual abilities – speaking Swedish, German, English, Italian, and French – would later support her international career. She received a scholarship to the Royal Dramatic Training Academy, where her talent quickly stood out. Against convention, she was cast in Ett Brott after just a few months. Her early film work with Svensk Filmindustrib soon led her to leave the academy and pursue acting full-time, setting the stage for her iconic career.
1935 – 1938: A Rising Star
Ingrid Bergman’s film journey began in 1932 as an extra in Landskamp, which she described as a transformative experience. Her first speaking role came in Munkbrogreven (1935), playing a maid, but critics had mixed reactions. Undeterred, she soon signed with Swedish director Gustaf Molander and starred in a series of films like Walpurgis Night and On the Sunny Side, showcasing her versatility.
Her first lead came in Intermezzo (1936), which solidified her talent. In 1937, at the age of 21, she married Petter Aron Lindström, a dentist who later went on to be a neurosurgeon. She experimented with diverse characters, such as a disfigured blackmail gang leader in A Woman’s Face (1938), a performance that won critical acclaim at the Venice Film Festival. In the same year, Bergman signed a three-film deal with the German studio UFA but completed only one, The Four Companions, while pregnant. However, she quickly recognised the political climate, noting that involvement in the Nazi party was necessary for success. By September, she returned to Sweden, giving birth to her daughter Pia, and never worked in Germany again.
Before turning 25, Bergman appeared in eleven Swedish films, often as characters filled with emotional complexities. These roles, though not cinematic masterpieces, highlighted her growing talent and established her as a rising star in Sweden, working alongside notable Swedish actors and directors.
1939 – 1949: A Hollywood Breakthrough
In 1939, Ingrid Bergman made her American debut in Intermezzo: A Love Story, directed by Gregory Ratoff. Invited by Hollywood producer David O. Selznick to remake her Swedish film, Intermezzo, she arrived in Los Angeles, unsure of her acceptance and unable to speak English. Initially, Selznick worried about her height and appearance, but he ultimately embraced her natural beauty. Bergman’s dedication on set amused Selznick, who praised her conscientiousness. Her charm and authenticity quickly made her a star, marked the beginning of her iconic Hollywood journey.
While Ingrid worked in Hollywood, her husband Lindström pursued medical studies in Rochester, New York. The couple maintained a long-distance relationship, with Bergman visiting where possible. Lindström managed their finances and preferred to keep his distance from Hollywood’s glamour. Despite their contrasting lifestyle, they would go on to apply for U.S. citizenship together in 1945.
Intermezzo was a huge success, catapulting Bergman to stardom. Director Gregory Ratoff called her “sensational”, a sentiment shared by the entire set. Her natural elegance and lack of heavy makeup gave her an authentic, noble quality that set her apart in Hollywood. Critics praised her “freshness, simplicity, and natural dignity”, while Variety noted her charm and versatility. Even as she continued to learn English, she impressed audiences with her stage debut in Liliom. Bergman’s talent and charisma solidified her as a rising star in both film and theatre.
In 1941, Ingrid Bergman expanded her Hollywood presence by appearing in three films: Adam Had Four Sons, Rage in Heaven, and Dr. Jekyll and Mr. Hyde. In Dr. Jekyll and Mr. Hyde, she chose to play the role of Ivy, the barmaid, showcasing her versatility. Critics praised her nuanced performances, and The New York Times highlighted her talent.
In 1942, she starred in Casablanca opposite Humphrey Bogart, in a role that became iconic. Though she felt like it wasn’t her best work, the film’s impact was undeniable, and reviewers lauded her captivating presence.
Bergman’s talent continued to shine in For Whom the Bell Tolls (1943), which earned her an Academy Award nomination. Earnest Hemingway himself endorsed her for the role of Maria. Critics admired her authentic and emotional performance, marking her as one of Hollywood’s finest.
She followed this success with Gaslight (1944), directed by George Cukor, a film that brought her her first Academy Award for Best Actress. Her portrayal of a wife on the brink of madness was met with acclaim, cementing her status as one of the era’s top actresses. Critics applauded her emotional depth and restraint, highlighting her ability to captivate audiences and showcase her range.
The Bells of St. Mary’s premiered in December 1945, with Ingrid Bergman starring as a nun opposite Bing Crosby. Her performance earned her a third consecutive Best Actress nomination, and the film became the biggest box office hit of the year.
Later in December 1945, Bergman starred in Alfred Hitchcock’s Spellbound as Dr. Constance Petersen, marking the first of three collaborations with the director. She continued her successful streak with Notorious (1946), another Hitchcock classic. Her role as Alicia Huberman opposite Cary Grant was widely celebrated, and the film remains a Hitchcock masterpiece.
In 1946, Bergman took to the stage and starred in Joan of Lorraine on Broadway, achieving immense success and earning her the title of “Queen of the Broadway Season” from Newsweek. The play’s success led to her being named “Woman of the Year” by the Associated Press. She later reprised her role in the film Joan of Arc (1948), which earned her another Oscar nomination despite mixed reviews. In 1949, she reunited with Hitchcock in Under Capricorn, but the film faced criticism, partly due to Bergman’s controversial relationship with director Roberto Rossellini.
1950 – 1955: Bergman and Rossellini
In 1950, Ingrid Bergman starred in Stromboli, directed by Roberto Rossellini. After writing to Rossellini in admiration, she was cast in the film, and the two began to have an affair, leading to a pregnancy. The scandal shocked the U.S., resulting in backlash from the public and politicians, including a Senate denouncement. Petter Lindström was aware of her affairs but tolerated them due to her income. After the affair with Rossellini was made public, Bergman begged for a divorce and to be able to see their daughter Pia, but he refused.
Despite the controversy, Bergman and Rossellini married in 1950 after she divorced Lindström under Mexican law. They would go on to have three children, including twins Isabella and Isotta. The film was a box office failure in the US, but fared better in Europe, winning the Rome Prize for Cinema. Critical reception in America was harsh, with negative reviews citing its uninspiring direction and story.
Stromboli has been recognised as one of the most significant Italian films, and in 2012, it was listed as one of the 250 greatest films by the British Film Institute. Bergman continued to work with Rossellini in films like Europa ’51 (1952), and Viaggio in Italia (1954), both exploring themes of isolation and existential searching. Bergman also starred in Joan of Arc at the Stake, which toured internationally, though it received mixed reviews in her native Sweden. Despite challenges, their work together influenced the French New Wave and left a lasting cinematic legacy.
In 1954, Bergman starred in La Paura (Fear), based on Stefan Zweig’s novella. In the film, she portrays a businesswoman blackmailed over her affair. Rossellini’s neorealist approach, using a Hollywood star in a non-traditional way, faced criticism, as he deprived Bergman of typical star luxuries to create authentic psychological introspection. While their films were commercial failures at the time, they are now seen as influential, shaping modern European cinema and inspiring filmmakers like Fellini, Antonioni and more recent directors like Abbas Kiarostami.
1956 – 1972: A return to Hollywood
After separating from Rossellini, Bergman starred in Jean Renoir’s Elena and Her Men (1956), a romantic comedy where she played a Polish princess caught in political intrigue. The film was a success in Paris, with critics praising Bergman’s captivating performance. That same year, she starred in a French adaptation of Tea and Sympathy, which became a hit.
Bergman’s major comeback came with Anastasia (1956), where she portrayed a woman claiming to be the last surviving Romanov. The film was a critical and commercial success, earning Bergman her second Academy Award for Best Actress. In 1957, Bergman was also reunited with her daughter Pia, but her ex-husband Petter remained resentful of her. It was also during this year that her marriage to Rossellini’s marriage deteriorated and ended in divorce. Rossellini’s possessiveness led him to restrict Bergman from working with other filmmakers, fearing her return to Hollywood. While he was filming in India, Rossellini had an affair with Sonali Das Gupta. To secure Rossellini’s departure from India, Bergman met with Indian Prime Minister Jawaharal Nehru in London.
After Anastasia, Bergman starred in Indiscreet (1958) alongside Cary Grant. The romantic comedy, based on Norman Krasna’s play Kind Sir, showcased her as a successful actress entangled in a love affair with a diplomat. That same year, she starred in The Inn of the Sixth Happiness, earning praise for her portrayal of a missionary in China.
On the 21st of December 1958, Bergman married Lars Schmidt, a Swedish theatrical producer from a prominent shipping family. They spent summers on his private island, Danholmen, and also lived near Paris. Despite their strong bond, and their busy careers – Bergman’s frequent filming and Schmidt’s theatre productions across Europe – strained their marriage over time.
Bergman’s Hollywood return came at the 1959 Academy Awards, where she received a standing ovation. She then debuted on television in The Turn of the Screw, winning an Emmy, and continued her career with diverse roles, including Goodbye Again (1961).
In 1962, Ingrid starred in Hedda Gabler, a television production co-produced by her husband Lars Schmidt, and later performed the role on stage in Paris. While on holiday with him in 1963 on Monte Gordo beach in the algarve, Bergman received a ticket for wearing a bikini that was too revealing according to the conservative standards of the time in Portugal.
She then appeared alongside Anthony Quinn in The Visit (1964), and in The Yellow Rolls-Royce (1965) with Omar Sharif. Bergman also starred in the West End play A Month in the Country. In 1966, she gave a powerful performance in The Human Voice, a television adaption of Jean Cocteau’s play, earning critical acclaim for her emotional portrayal of a woman on the verge of heartbreak.
In 1967, Ingrid Bergman starred in the Swedish anthology film Stimulantia, reuniting with director Gustaf Molander. Later that year, she performed in Eugene O’Neill More Stately Mansions on Broadway, a production that attracted audiences nationwide. In 1969, she returned to American cinema with Cactus Flower, a romantic comedy alongside Walter Matthau, receiving positive reviews for her charming performance.
Bergman continued her career with roles like A Walk in the Spring Rain (1970) and Captain Brassbound’s Conversion (1971) in London. In 1972, the U.S. Senate issued an apology for how she was treated in the 1950s, acknowledging her contributions to film and her lasting legacy. Bergman reflected on this challenging period, eventually reconciling with her past in America.
1973 – 1982: Continued Success in Later Life
In 1972, Ingrid Bergman starred in From the Mixed-Up Files of Mrs. Basil E. Frankweiler, playing a wealthy recluse who befriends two adventurous children. That same year, she served as president of the Cannes Film Festival jury and reconnected with director Ingmar Bergman.
She then returned to the West End with The Constant Wife, receiving praise despite critiques of her accent. In 1974, she won her third Oscar for Murder on the Orient Express. In 1975, she accepted an award on behalf on Jean Renoir at the Oscars and attended the AFI tribute to Orson Welles. After almost twenty years of marriage, Ingrid Bergman and Lars Schmidt divorced the same year.
In 1976, Ingrid Bergman became the first recipient of France’s Honorary César and starred in A Matter of Time by Vincente Minnelli. Though the film was a disappointment, critics praised her presence on screen. She later returned to London’s West End for Waters of the Moon, a theatrical hit.
In 1978, she starred in Ingmar Bergman’s Autumn Sonata, earning her final Oscar nomination. Despite battling cancer, she hosted the AFI tribute for Alfred Hitchcock, presenting him with a ceremonial key from Notorious.
Throughout the late 70s, Ingrid Bergman appeared on numerous talk shows, including those hosted by Merv Griffin and David Frost, sharing insights on her life and career. In 1980, she published her autobiography, Ingrid Bergman: My Story, co-written with Alan Burgess, revealing personal and professional details, including the Rossellini scandal.
In 1982, she starred in A Woman Called Gadda, portraying Israeli Prime Minister Golda Meir, her final acting role. Despite battling cancer, her performance won a posthumous Emmy. Bergman passed away later that year on her 67th birthday with her ex-husband Lars Schmidt by her side with three others, after drinking their last toast to her a few hours earlier.