Ingrid Bergman had wanted to work with Ingmar Bergman – unrelated – for quite some time, and finally got her chance in her last film. The film came shortly after she found out she had cancer, and it was a film full of raw emotion, so it was understandable if she wasn’t so sure about it. But she saw a lot of herself in her character Charlotte and, despite her battles with Ingmar, had a great time making the film, delivering one of her finest performances. It’s a powerful film and a strong wrap-up to her brilliant career. Join us – Pete Wright and Andy Nelson – as we conclude our Ingrid Bergman series with Ingmar Bergman’s 1978 film Autumn Sonata.

We talk about the sense of stage theatricality throughout the film and why Ingmar structured his film this way. We look at the brilliant central performances of Ingrid and Liv Ullmann and debate if the film works the way it is or if it would’ve worked better if there was more showing and less telling. We talk about Sven Nyqvist’s beautiful cinematography, fulfilling the autumnal title with reds and oranges. And we look at why Ingrid was so keen to work with Ingmar and how she let him know.

It’s an interesting film with powerful performances that we relish, even if we don’t love the film. Still, it’s one people should definitely check out. So do so then tune in to this week’s show! The Next Reel – when the movie ends, our conversation begins.

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Film Sundries

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"Ladies and gentlemen, you are all aware that the repulsive murder has himself been repulsively and perhaps deservedly murdered. How and why?"

Supposedly, Agatha Christie was not a fan of many adaptations of her stories. Sidney Lumet managed to assuage her concerns with his version of Murder on the Orient Express, however, as she had few problems with it (except, apparently, the mustache on Hercule Poirot). While a fun and intriguing mystery, though, the simplicity of her puzzle does wear thin through today’s eyes as we become more aware how basic the characters are. It all still works, but it’s not as thrilling. Still, this story does unique things with the murder mystery tropes that makes it stand out. Join us – Pete Wright and Andy Nelson – as we continue our Ingrid Bergman series with Lumet’s 1974 film, Murder on the Orient Express.

We talk about what works and what doesn’t in this mystery tale and how that affects whether the film holds up. We look at the incredible cast to see who is able to stand out. We talk about Albert Finney as Poirot and debate whether he’s the better Poirot or Kenneth Branagh. We discuss the awards for the film and question Bergman’s Oscar win. And we look at Geoffrey Unsworth’s cinematography and some of the tricks he and Lumet play to focus moments of the story.

It’s an interesting film and a fun one to talk about, but one that falls apart a bit when discussing at length. We have a great time breaking it down so check it out then tune in to this week’s show. The Next Reel – when the movie ends, our conversation begins.

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Film Sundries

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"I can’t live like this in this filth!"

When Ingrid Bergman wrote a letter to director Roberto Rossellini about her interest in being in a film of his, little did she realize how much that would change both of their lives. That letter led her to be the star of Rossellini’s Italian neo-realist film Stromboli, and led the two of them to their affair that killed her Hollywood career for a decade. At least the two of them were able to make five films together and have three children before another affair of his led them to separate. Join us – Pete Wright and Andy Nelson – as we continue our Ingrid Bergman series with Rossellini’s 1950 film Stromboli.

We talk about what works in this film for us and what doesn’t. We look at the ending and debate about whether it’s working or not. We look at the core relationship of Bergman and Mario Vitale and discuss if it’s working for us and why. We talk about neorealism and what the movement was made up of. We look at the actual island of Stromboli and the complexities of filming there. And we look at how the movie got made and try to figure out if it made any money back or not.

It’s an interesting film that works a lot better for Andy than it does for Pete. That certainly gives us a lot to discuss, so check it out then tune in to this week’s show. The Next Reel – when the movie ends, our conversation begins.

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Film Sundries

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"I am married to an American agent."

Hitchcock loved working with Ingrid Bergman. He was a notorious director for wanting everything his own way, but when it came to Bergman, he ended up being much more collaborative. That collaboration peaked in the production of Notorious, which also had the benefit of no longer being a David O. Selznick project. The film marked a turn for Hitchcock where he got to produce his own project and really set the foundation for what would become the classic Hitchcock mold. Join us – Pete Wright and Andy Nelson – as we continue our Ingrid Bergman series with Hitchcock’s 1946 film Notorious.

We talk about why this film works so much better for us than Spellbound did. We look at the strength in the story paired with the performances by Bergman, Cary Grant, and Claude Rains as our leads and how they elevate the story to incredible heights. We look at the subjective camera work as well as brilliant moments of camera movement that signify big steps for Hitch and the industry. And we talk about the music and why Roy Webb’s score works so well.

It’s a glorious film full of psychological complexities that works really well, especially for a film at the time dealing with war criminals fresh on the heels of WWII. We love it and have a great conversation about it. Check it out! The Next Reel – when the movie ends, our conversation begins.

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Film Sundries

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"It’s like looking into a mirror and seeing nothing but the mirror."

Alfred Hitchcock had been working in Hollywood for a while by the time he made Spellbound, but it was only the second project he made with David O. Selznick under his three-picture contract. Unfortunately, it was a bit of a struggle for the two men as they both tend to be a bit stubborn in wanting things their way. In the case of this film, it was Selznick’s own interest in psychoanalysis that led him to wanting to make it, but even that became a sticking point with Hitch. Join us – Pete Wright and Andy Nelson – as we continue our own analysis of Ingrid Bergman’s films with a conversation about Hitchcock’s 1945 film Spellbound.

We talk about the nature of psychotherapy then and why this film is hard to take too seriously because of its depictions. We look at what Bergman and Gregory Peck as our two leads bring to the table. We chat about the dream sequence designed by Salvador Dalí and why it’s only two minutes instead of twenty. And we discuss the nature of the love story and why it makes this film a bit more difficult to buy into.

It’s an interesting film but one that we struggle with. We still enjoy it enough, though, and it allows for a great conversation. So check it out then tune in! The Next Reel – when the movie ends, our conversation begins.

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Film Sundries

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"Are you suggesting this is a knife I hold in my hand?"

Ingrid Bergman took home her first Oscar for her portrayal of a woman who is psychologically broken down by her husband in Gaslight, but it was a film she was hesitant to star in. She was nervous about playing such a weak-willed woman. In the end, she delivered a stellar performance and was very proud of the film and her role in it. Join us – Pete Wright and Andy Nelson – as we continue our Ingrid Bergman series with George Cukor’s 1944 film Gaslight.

We talk about this film and the 1940 version directed by Thorold Dickinson and how MGM almost gaslit that film out of existence. We discuss the idea of gaslighting and why it makes for such a successful story here. We look at Bergman paired with Charles Boyer and Joseph Cotten – not to mention Angela Lansbury in her screen debut – and what they bring to the table. We chat about Cukor and his working relationship with the women in his films. And we look at the gorgeous and noirish cinematography here and talk about how it lends to the overall tone of the film.

It’s an incredible film that people need to see (really, the 1940 version needs to be seen as well). We love it and are thrilled to talk about it on the show this week. Check it out then tune in! The Next Reel – when the movie ends, our conversation begins!

Join the conversation with movie lovers from around the world on The Next Reel’s Discord channel!

Film Sundries

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"A man fights for what he believes in."

Ernest Hemingway was very involved in getting the adaptation of his 1940 novel “For Whom the Bell Tolls” off the ground. It was Gary Cooper who initially brought it to Cecil B. DeMille’s attention, and DeMille who bought the rights then introduced Cooper to Hemingway. After that fateful meeting, Hemingway saw no one except Cooper as his choice to play the lead. And opposite him, he wanted Ingrid Bergman. It took some time to get her – including two weeks of production with a different actress – but get her they did, and the rest is history. Join us – Pete Wright and Andy Nelson – as we continue our Ingrid Bergman series with Sam Wood’s 1943 film For Whom the Bell Tolls.

We talk about how we came to this film and why there are elements that work, but how it largely feels dated. We look at elements that do work, however, and how the film still gets some of Hemingway’s themes across. We look at Cooper and Bergman and why their relationship feels not quite right. We discuss Katina Paxinou and Akim Tamiroff as the two actors who deliver our favorite performances of the film. We look at the nature of the three-strip technicolor process and struggle with the way this film looks sadly. And we talk about the journey this film went on as far as its length is concerned, from Roadshow to theatrical cut to restored cut – yet how sad it is that it’s never received the royal treatment it deserves.

We aren’t in love with this adaptation of Hemingway’s book, but we did still find some interesting things in the film. And now, we’re both more interested in reading the book, so that’s saying something, right? So check out the movie and tune in! The Next Reel – when the movie ends, our conversation begins.

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Film Sundries

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"Play it once, Sam. For old time’s sake. Play it, Sam."

Michael Curtiz’s 1942 film Casablanca never seemed to be on track to become a classic. It only fell into that mold after the fact, and maybe that’s why it seems to work so well – it doesn’t feel like it’s carrying any of that ‘award film’ baggage. It’s just a smartly written script with great characters performed by brilliant actors. Everything seemed to have worked. Join us – Pete Wright and Andy Nelson – as we kick off our Ingrid Bergman series with Curtiz’s Casablanca.

We look at why we love this film so much and why it still works so well. We talk about the central performances – Humphrey Bogart, Bergman, Paul Henreid, Claude Rains – not to mention the rest of the cast, and why they feel so perfect for this film. We chat about Curtiz and his directing. And we look at the music, notably the song “As Time Goes By.”

It’s a beautiful film that still works on every level. We love it and have a great time talking about it on the show this week. So check it out then tune in! The Next Reel – when the movie ends, our conversation begins.

Join the conversation with movie lovers from around the world on The Next Reel’s Discord channel!

Film Sundries

Thank you for supporting The Next Reel Film Podcast on Patreon!

Learn how to support our show and The Next Reel’s family of film podcasts by becoming a member. It's just $5 monthly or $55 annually. Learn more here.

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What are some other ways you can support us and show your love? Glad you asked!

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• Or buy or rent movies we’ve discussed on the show from our WATCH PAGE.
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