Modern Screen (Dec 1948 - Oct 1949)

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Without his complete sympathy, encouragement and understanding, I should never have been able to achieve both personal and professional happiness." "But if she weren't in love with Rossellini," the Hollywood raised-eyebrow set has been asking as a clincher, "why didn't she stay right here and make a movie for a lot more money?" One answer to that might be that she was deeply disappointed when Joan of Arc failed to bring her an Academy Award. Beyond that doubtful possibility, there exists an explanation that is much more probable: By this time, the thrifty Miss Bergman is pretty well free of financial worry, so money isn't as important to her now as a fresh artistic challenge. For a long time, she had deeply admired from afar the filmmaking genius of Roberto Rossellini. A few months ago, she wrote him, "If you can find a small part in one of your new productions for a little Swedish girl by the name of Bergman, she is ready for it." Soon he came to her in Hollywood, on fire about a picture idea. He described it as a film in which everybody but one. girl would speak Italian, French or German. The girl would speak English. "I want to prove," he said, "that a good love story, like love itself, knows no language barriers. People say I'm crazy, that it can't be done. But with you as the girl — I know it can!" opportunity knocks again . . . After many long conferences, with Dr. Lindstrom beside her to ask surgically precise questions of the challenger, she decided to accept the part. Once again Dr. Lindstrom had said — as he said long ago when Selznick wanted her to leave Sweden for Hollywood — "If you want to grow in your profession, this is a chance you can't afford to miss." It may be that Ingrid's great professional admiration for Rossellini has deepened into an emotional involvement. But she has shown a great deal of demonstrative enthusiasm for several other men with whom she's worked — for David Lewis, producer of Arch of Triumph; for David Selznick; for Alfred Hitchcock; for Cary Grant — and in every case, it's been nothing more than professional. Possibly the same could hold true of her attitude toward Rossellini. Finally, there's an explanation that, while cynical, does indeed seem to have a good deal of logic to support it: The entire Bergman-Rossellini "romance" may have started as a deliberate publicity device — which then got wildly out of hand. Millions were poured into Bergman's Arch of Triumph. Up to now, it's been a dismal flop at the box-office. Aside from any intrinsic shortcomings in the film, there is one major reason for its failure to attract the customers: In it, Bergman played a very shady lady indeed, a character completely at variance with the sweet and wholesome Ingrid the public has come to idolize. A large number of Ingrid's faithful followers were shocked and disturbed. They didn't like it a bit, and said so. Since word-of-mouth advertising is still the most important publicity a film can get, Arch of Triumph became a commercial dud. Mainly because of the financial beating taken on this, the producers, Enterprise Productions, folded. Ingrid, who was reported to have signed to make the picture for 35 percent of the profits, has, ^ ij.se, not realized a penny. Obviously, things might have been vastly different if Ingrid's appearance in Arch hadn't seemed to the people to be such glaring mis-casting. Could it be that an effort was therefore made to demonstrate that perhaps Bergman isn't entirely the saint she's seemed — that she should be just as acceptable playing lurid parts as any other actress who actually possesses a few garden-variety frailties? If this idea were successfully implanted, Arch still might be salvaged. Besides, in Ingrid's new Hitchcock film, Under Capricorn, she plays a dipsomaniac who sinks to degradation. Coming on the heels of Joan of Arc, Ingrid in this might be even more disturbing to the public than she was in Arch. So here might well be a further powerful consideration in deciding it would be sensible to allow the fans to view the real-life Ingrid in a less angelic light. If the affair had been engineered by publicists, it is quite conceivable that Ingrid herself didn't realize it. It is not unheard-of for press agents to place a star in some situation that promises publicity without the star's really knowing what is afoot. Then, when he or she honestly tries to cope with the situation, the whole phony arrangement seems the more plausible. Thus, if rumors of a romantic attachment were judiciously planted at the time Rossellini first approached Ingrid, everything that thereafter developed in the normal course of events would have served to make the fabrication convincing. If Ingrid and Rossellini had categorically denied the gossip, the speculation would still have continued through the mere fact of then working closely together. And their refusal to comment, even if springing from a sincere conviction that by so doing they were refraining from dignifying the rumors, added considerably to the flames. Obviously, whether or not the whole thing was started as a publicity scheme, Ingrid and Rossellini may have come to have a sincere affection for each other. At this time, after surveying all known and theoretical aspects of the matter, it is impossible to reach any firm conclusion as to where the reality lies. Time will tell. In the meantime, speculation goes on apace concerning one of the most surprising stories ever to come out of the film world. The End Ingrid Bergman, director Rossellini and (right) Mario Vitale — the fisherman who's her new leading man — on location at Stromboli, Italy.