1930-1997 yillari arasi yasamis isvecli yonetmen ve oyuncu.

isvec sinemasinin en onemli isimlerinden biridir. uluslararasi unu de var. tabi ingmar bergman ile kiyaslamamali. cok buyuk ayib olur, yakisik almaz.

basyapitlari icin (bkz: utvandrarna) (bkz: kvarteret korpen)

(kontra - 23 Nisan 2012 14:20)

1930-1997 yılları arasında yaşamış isveçli yönetmen ve yazar. imdb
''bo widerberg, the lyrical, socially conscious swedish director died at 66. widerberg was nominated for oscars for best foreign film for ''all things fair'' (1996), about the relationship between a high-school student and his female teacher; for ''adalen '31'' (1969), about a violent strike in 1931 at a paper mill in the swedish town of adalen, and for ''raven's end'' (1964), a slightly autobiographical film about a teen-age boy trying to break the ties that bind him to his family in a working-class district of malmö, where mr. widerberg was born.

although ''raven's end'' was named the best swedish film ever in a poll two years ago by a swedish arts magazine, mr. widerberg was always best known abroad for the lushly romantic ''elvira madigan'' (1967). set in the 19th century, the film told of the runaway love affair of a young, married swedish cavalry officer and a beautiful 17-year-old girl -- a circus performer.

''exquisite is only the first word to describe this exceptional film,''bosley crowther wrote in his review in the new york times. ''there are others -- poetic and sensitive, compassionate and humane, poignant and eventually heartbreaking in its resolution of a universal dilemma of star-crossed lovers.'' the romanticism of the story was enhanced both by color photography that prompted comparisons to the paintings of renoir, and by music from mozart's piano concerto no. 21, often afterward referred to as the ''elvira madigan.''

ın a 1969 interview, mr. widerberg accounted for the success of the film by saying: ''i think because it gave relief, because it took you to an era where you could rest. you know, in the film, the young couple is seen sitting in the green grass under a tree, drinking red wine, eating good swiss cheese and newly baked bread. my aim was that you could smell that bread. that was my aim throughout the film, to bring the audience those good sensations.''

but he said there was more to the film. ''i wanted to prove that their idea was insane, that you can't cut off relations with society and get along in the grass, alone.''

mr. widerberg, who wrote his own scripts, tended to regard them as advice to himself and felt free to improvise new lines and determine the course of action just before the cameras rolled.

mr. widerberg also preferred to work with amateur actors. ''what actors need is not technique, but innocence,'' he declared.

although many critics tagged mr. widerberg as a romantic because of his lush use of color, he regarded color as his distinguishing mark as a realist because he favored natural light whenever possible. ''when you decide not to use artificial light, a room is much more beautiful,'' he said. ''the world is color; black and white is stylization.''

he had left school at 17. ''it was dull, just dull,'' he said. ''i thought, 'this cannot be life,' so i left.'' when he was called up for military service, he deserted. he said he convinced the authorities that he was a poor risk as a soldier, so he avoided prison; and then he began to write fiction. by the time he was 22. he had published a novel and a collection of stories, both in the same week.

after also achieving prominence as a newspaper film critic, mr. widerberg aroused controversy in 1962 with his book ''the vision of swedish cinema.'' in it he attacked his country's film industry, particularly for being monopolized by ingmar bergman and his followers. ''bergman, of course, was much better technically than the others, and much more personal, but i thought he was much too preoccupied with problems that didn't interest me and my generation of comrades,'' mr. widerberg said. ''and the sweden he exported -- we didn't find it contemporary at all.''
[burada bir parantez açıp konuyla ilgili şu sözünü de ekleyeyim: ''we didn't find the issue of god's existence that damned important.'' ...ve bergman'ın tanrısından usanmış gönüller ferahlıyor.]

when the book came to the attention of a producer who offered him complete freedom to make his first film, mr. widerberg set out to express his own cinematic vision.

''art,'' he once said, ''is a way of defending yourself, not to let life slip by without comment.''

among his other well-known films were ''joe hill'' (1971), about the legendary, song-writing labor leader, and ''man on the roof'' (1977), based on one of the highly praised detective martin beck novels in the series by per wahloo and maj sjowall.''
gazeteci lawrence van gelder tarafından kaleme alınan yazıdan alıntıdır. nytimes

(rasyonalite - 23 Mayıs 2017 23:46)