'A Look at Liv': Bergman icon Liv Ullmann at the Paley Center

By Kevin Lally

For anyone who was an art-house devotee in the 60s and 70s, Liv Ullmann is one of the icons of cinema. Star of ten Ingmar Bergman films including Cries and Whispers, Persona and Scenes from a Marriage, the two-time Oscar nominee appeared last night at New York's Paley Center for Media for a rare screening of Richard Kaplan's 1977 documentary A Look at Liv: Norway's Liv Ullmann/Liv Ullmann's Norway. An intimate portrait of the actress at the peak of her fame, this marvelous film includes highlights from her career, interviews with Bergman and cinematographer Sven Nykvist, scenes of Ullmann at premieres, book signings and relaxing with her young daughter, and candid conversations with the beautiful star herself.

Kaplan, director of the Oscar-winning documentary The Eleanor Roosevelt Story, introduced the film, and then joined Ullmann, still radiant at the age of 69, on stage after the screening. Ullmann immediately disarmed the audience by telling them how embarrassing it was to watch all this footage of herself from 30 years ago, admitting that the woman on screen seemed like a different person. In the film, Bergman--the father of her daughter Lin, now an acclaimed novelist--talks about how their romantic relationship evolved into something even more valuable to him, an enduring friendship. Ullmann, in turn, agreed that as one ages, friends are essential--and paid emotional tribute to a longtime close friend sitting in the front row, her Persona co-star, Bibi Andersson.

This remarkable actress and dedicated humanitarian also proved to be a delightful raconteur. She told a hilarious story about the first meeting of Ingmar Bergman and Woody Allen: Ullmann had been spending time with Allen while starring on Broadway in A Doll's House, and Allen was thrilled when told Bergman was coming to New York to see her performance. But when she, Allen, Bergman and his wife sat down for dinner, it was up to the women to sustain the conversation; the two "geniuses" barely spoke. Nevertheless, each thanked her profusely for the summit meeting later that night.

Ullmann also recalled how Hollywood icon Ingrid Bergman (no relation), in her one film for the great director, Autumn Sonata, fought over a line which Ingrid felt was contrary to her interpretation of the role. Eventually, Ingrid agreed to say the line, but her cool intonation completely conveyed what her character was really feeling. Ullmann also recollected in wonder the veteran star's utter professionalism, despite her battle with cancer at the time.

Ullmann's last appearance on screen was in Ingmar Bergman's final film, Saraband, and she herself has directed four features, including powerful films of Bergman's scripts Private Confessions and Faithless. (This writer had the great fortune to interview Ullmann in her New York Upper West Side living room on the occasion of her feature directing debut, Sofie, in 1992. The Norwegian beauty apologized for having garlic at lunch, and insisted on sitting on the floor, literally at my feet.)

Recently, Ullmann was developing a new film of A Doll's House to star Cate Blanchett under her direction, but sadly, the Norwegian funding fell through. But now, Ullmann reveals that Blanchett has commissioned her to direct the great Cate in a production of A Streetcar Named Desire for the Sydney Theatre Company, where Blanchett is co-artistic director. Ullmann fully expects that production to come to Washington and New York.

Film's loss may be theatre's gain, but here's hoping the magnificent Liv Ullmann returns to movie screens soon. It was a privilege to share two hours in her company last night.