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By ERNST JACOBI
HIS beach house in Santa Monica one Sunday afternoon, nearly ten years ago, the late great director Sam Wood was watching Ingrid Bergman swim far out into the Pacific. There was a dangerous undertow, and someone _ asked whether he hadn't better notify the lifeguard station to keep an eye on her.
"No, she wouldn't like it," Mr. Wood replied. "Some day Ingrid's going to start swimming and never come back."'
There were at the time no outward indications as to the strange and twisted fate that lay in store for Ingrid just around the next corner of her life. She appeared to be happily married to Dr. Peter Lindstrom, a prominent Beverly Hills neuro-surgeon, and she was at the height of her career and her powers as an actress, commanding a record fee of $175,000 per picture and having won an Academy Award as the best actress of the year 1944 for her excellent performance in "Gaslight."
Yet there must have been, even then, deep undercurrents of discontent and unrest which were apparent to some of her closer friends and associates. For a couple of years after Sam Wood made this remark, Ingrid Bergman did in fact swim away to a point of no return.
In the Spring of 1949, Ingrid went to Italy in order to make a picture under the direction of Roberto Rossellini. The trip was to last only about three months, but — as it turned out — she never came back from it. She fell in love and had a child by Rossellini, married him after she divorced her husband, and has lived in Italy ever since. While her first picture in seven years for an American studio — "Anastasia," which she made in London for 20th Century-Fox — is now being seen here, and while she may conceivably return to Hollywood for other pictures later, it is quite inconceivable that she'll ever pick up again where she left off. In a very real sense, Ingrid Bergman has fulfilled Sam Wood's melancholy prophecy.
It is now known that she had asked her husband for a divorce as early as 1946, three years before she actually left him. It had also been noted that she seemed to prefer entertaining her friends on the set rather than in her home. And it was no secret that immediately prior to 1949 she was
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Ingrid Bergman defends
'Anyone can make a mistake. It's how a person acts after the mistake that should be judged/' says Ingrid
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