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Medalii olimpice
Haltere
Bronz	Londra 2012	−69 kg
Campionate Europene
Argint	2011 Kazan	−69 kg
Argint	2012 Antalya	−77 kg
Bronz	2013 Tirana	–77 kg

Răzvan Constantin Martin (n. 22 decembrie 1991, Cluj-Napoca) este un halterofil român. A câștigat medalia de bronz la Jocurile Olimpice de vară din 2012, categoria 69 kg, unde a ridicat un total de 332 kg.

Biografie[modificare | modificare sursă]

Martin s-a născut în Cluj-Napoca, a rămas fără tată la vârsta de trei ani și a fost abandonat de mamă. Până la vârsta de 9 ani a stat mai mult pe străzi, el fiind adus la Clubul Sportiv Gloria Bistrița de Mugur Saranciuc, antrenor emerit de haltere.

Răzvan Martin a fost depistat pozitiv la un control anti-doping efectuat la 11 aprilie 2013, la Campionatele Europene de la Tirana, fiind este supendat până la 11 aprilie 2015.^[1]

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Cary Grant
Promotional photo of Cary Grant for Suspicion(1941)
Born	Archibald Alexander Leach 18 January 1904 Horfield, Bristol, England, UK
Died	29 November 1986 (aged 82) Davenport, Iowa, U.S.
Cause of death	Cerebral hemorrhage
Other names	Archie Leach
Education	Bishop Road Primary School Fairfield Grammar School
Occupation	Actor
Years active	1922–1966
Spouse(s)	Virginia Cherrill (m. 1934;div. 1935) Barbara Hutton (m. 1942;div. 1945) Betsy Drake (m. 1949;div. 1962) Dyan Cannon (m. 1965;div. 1968) Barbara Harris (m. 1981–86)
Partner(s)	Maureen Donaldson (1973–1977)
Children	Jennifer Grant (born 1966)
Awards	Academy Honorary Award(1970) For his unique mastery of the art of screen acting with the respect and affection of his colleagues. Kennedy Center Honors(1981)

Cary Grant (born Archibald Alexander Leach; 18 January 1904 – 29 November 1986) was an English-born American stage and Hollywood film actor who became an American citizen in 1942. Known for his transatlantic accent, debonair demeanor, and "dashing good looks", Grant is considered one of classic Hollywood's definitiveleading men.

In 1999, the American Film Institute named Grant the second greatest male star of Golden Age Hollywood cinema (after Humphrey Bogart). Grant was known for comedic and dramatic roles; his best-known films include Bringing Up Baby (1938), The Philadelphia Story (1940), His Girl Friday (1940), Arsenic and Old Lace (1944),Notorious (1946), An Affair to Remember (1957), North by Northwest (1959), and Charade (1963).

He was nominated twice for the Academy Award for Best Actor (Penny Serenade (1941) and None but the Lonely Heart (1944)) and five times for a Golden Globe Award for Best Actor. After his retirement from film in 1966, Grant was presented with an Honorary Oscar by Frank Sinatra at the 42nd Academy Awards in 1970.

 

 

Early life and career[edit]

Cary Grant was born Archibald "Archie" Alexander Leach on 18 January 1904 at 15 Hughenden Road, Horfield, a suburb of Bristol, England.^[1] He was the second child of Elsie Maria Leach (née Kingdon; 1877–1973) and Elias James Leach (1865–1935).^[2] His mother was from a family of shipwrights and his father was the son of a potter and worked as a tailor's presser at a clothes factory named Todd's.^[3] His elder brother, John William Elias Leach (9 February 1899 – 6 February 1900), was five years older than Archibald, and had died of Tubercular meningitis.^[4]

Leach had an unhappy upbringing. His father was an alcoholic,^[6] and his mother suffered from clinical depression.^[7] His father placed her in a mental institution and told the 9-year-old that she had gone away on a "long holiday",^[8] later declaring that she had died.^[6] When Leach was 10, his father remarried and started a new family that did not include young Archibald.^[5] Little is known about how he was cared for, and by whom.^{[citation needed]} Leach did not learn his mother had not died until he was 31,^[9] when his father confessed to the lie, shortly before his own death, and told Leach that he could find her alive in a care facility.^[5]

Leach attended Bishop Road Primary School, and then Fairfield Grammar School in Bristol from the age of 11, where he was expelled in 1918.^[10] After joining the "Bob Pender Stage Troupe", he performed as a stilt walker.^{[citation needed]} At age 16, in 1920, he traveled with the group on a two-year tour of the United States, on theRMS Olympic.^{[citation needed]} He was processed at Ellis Island on 28 July 1920.^[11]

When the troupe returned to Britain, Leach decided to stay in the U.S. and continue his stage career.^{[citation needed]} During this time, he became a part of the vaudevilleworld and toured with Parker, Rand, and Leach. After his departure, Grant was replaced by James Cagney.^[12] Still using his birth name, he performed on the stage atThe Muny in St. Louis, Missouri, in such shows as Irene (1931), Music in May (1931), Nina Rosa (1931), Rio Rita (1931), Street Singer (1931), The Three Musketeers(1931), and Wonderful Night (1931).^{[citation needed]} Leach's experience on stage as a stilt walker, acrobat, juggler, and mime taught him "phenomenal physical grace and exquisite comic timing", and the value of teamwork, skills which would benefit him in Hollywood.^{[citation needed]}

Leach became a naturalized United States citizen on 26 June 1942, at which time he also legally changed his name from "Archibald Alexander Leach" to "Cary Grant".^[13]

Hollywood stardom[edit]

After appearing in several musicals on Broadway under the name Archie Leach,^[14] Leach went to Hollywood in 1931.^[15] When told to change his name, he proposed "Cary Lockwood", the name of the character he had played in the Broadway show Nikki, opposite Fay Wray.^{[citation needed]} He signed with Paramount Pictures, where studio bosses decided the name "Cary" was acceptable, but "Lockwood" was too similar to another actor's surname.^{[citation needed]} Paramount gave their new actor a list of surnames to choose from, and he selected "Grant".^{[citation needed]}

Grant appeared as a leading man opposite Marlene Dietrich in Blonde Venus (1932), and his stardom was given a further boost by Mae West when she chose him for her leading man in two of her most successful films: She Done Him Wrong and I'm No Angel (both 1933).^{[citation needed]} I'm No Angel was a tremendous financial success and, along with She Done Him Wrong, which was nominated for an Academy Award for Best Picture, saved Paramount from bankruptcy. Paramount put Grant in a series of unsuccessful films until 1936, when he signed with Columbia Pictures.^{[citation needed]} His first major comedy hit was when he was loaned to Hal Roach's studio for Topper (1937, distributed byMGM).^{[citation needed]}

The Awful Truth (1937) was another pivotal film in Grant's career, which established for him a screen persona as a sophisticated light comedy leading man.^{[citation needed]} As Grant later wrote, "I pretended to be somebody I wanted to be and I finally became that person. Or he became me. Or we met at some point."^{[citation needed]} Grant is said to have based his characterization in The Awful Truth on the mannerisms and intonations of the film's director, Leo McCarey, whom he resembled physically. As writer/directorPeter Bogdanovich noted, "After The Awful Truth, when it came to light comedy, there was Cary Grant and then everyone else was an also-ran."^{[citation needed]}

The Awful Truth began what The Atlantic later called "the most spectacular run ever for an actor in American pictures".^{[citation needed]} During the next four years, Grant appeared in several classic romantic comedies and screwball comedies, including Holiday (1938) and Bringing Up Baby (1938), both opposite Katharine Hepburn; The Philadelphia Story(1940) with Hepburn and James Stewart; His Girl Friday (1940) with Rosalind Russell; and My Favorite Wife (1940), which reunited him with Irene Dunne, his co-star in The Awful Truth.^{[citation needed]} During this time, he also made the adventure films Gunga Din (1939) with Douglas Fairbanks, Jr. and Only Angels Have Wings (1939) with Jean Arthur and Rita Hayworth, and dramas Penny Serenade (1941) with Dunne, and Suspicion (1941), the first of Grant's four collaborations with Alfred Hitchcock.^{[citation needed]}

Grant was a favorite of Hitchcock's, who called him "the only actor I ever loved in my whole life".^[16] Besides Suspicion, Grant appeared in the Hitchcock classics Notorious (1946), To Catch a Thief (1955), and North by Northwest (1959).^{[citation needed]}

In 1952, he appeared in Monkey Business co-starring with Ginger Rogers and Marilyn Monroe.^{[citation needed]} In the the mid-1950s, Grant formed his own production company, Granart Productions and produced a number of films distributed by Universal, such as Operation Petticoat (1959), Indiscreet (1958), That Touch of Mink (co-starring with Doris Day, 1962), and Father Goose (1964).^{[citation needed]} Producers Albert R. Broccoli and Harry Saltzman originally sought Grant for the role of James Bond in Dr. No (1962) but discarded the idea as Grant would be committed to only one feature film; therefore, the producers decided to go after someone who could be part of a franchise.^{[citation needed]}In 1963, Grant appeared opposite Audrey Hepburn in Charade directed by Stanley Donen.^{[citation needed]} Hitchcock asked Grant to star in Torn Curtain (1966) only to learn that Grant had decided to retire.^[17]

Grant was the first actor to "go independent" by not renewing his studio contract, effectively leaving the studio system, which almost completely controlled what an actor could or could not do.^{[citation needed]} In this way, Grant was able to control every aspect of his career, at the risk of not working because no particular studio had an interest in his career long term.^{[citation needed]} He decided which films he was going to appear in, often had personal choice of directors and co-stars, and at times even negotiated a share of the gross revenue, something uncommon at the time. Grant received more than $700,000 for his 10% of the gross for To Catch a Thief, while Hitchcock received less than $50,000 for directing and producing it.^[18]

Grant was nominated for two Academy Awards, for Penny Serenade (1941) and None But the Lonely Heart (1944), but never won a competitive Oscar;^{[citation needed]} he received a special Academy Award for Lifetime Achievement in 1970.^{[citation needed]} Accepting the Best Original Screenplay Oscar on 5 April 1965 at the 37th Academy Awards,Father Goose co-writer Peter Stone had quipped, "My thanks to Cary Grant, who keeps winning these things for other people". In 1981, Grant was accorded the Kennedy Center Honors.^{[citation needed]}

Personal life[edit]

Grant was married five times.^[19] He wed Virginia Cherrill on 10 February 1934. She divorced him on 26 March 1935,^[20] following charges that Grant had hit her.^[21] In 1942, he married Barbara Hutton,^[22] one of the wealthiest women in the world following a $50 million inheritance from her grandfather, Frank Winfield Woolworth.^[23] The couple was derisively nicknamed "Cash and Cary",^[24] although in an extensive prenuptial agreement Grant refused any financial settlement in the event of a divorce.^[25] After divorcing in 1945, they remained the "fondest of friends".^[26] Grant always bristled at the accusation that he married for money: "I may not have married for very sound reasons, but money was never one of them."^[27]

On 25 December 1949, Grant married Betsy Drake.^{[citation needed]} He appeared with her in two films.^{[citation needed]} This would prove to be his longest marriage, ending on 14 August 1962.^{[citation needed]}

He eloped with Dyan Cannon on 22 July 1965, in Las Vegas.^{[citation needed]} Their daughter, Jennifer Grant, was born on 26 February 1966.^[28] He frequently called Jennifer his "best production".^[29] Grant and Cannon divorced in March 1968.^[30]

On 11 April 1981, Grant married Barbara Harris, a British hotel public relations agent who was 47 years his junior. They renewed their vows on their fifth wedding anniversary.^[31]

Some, including Hedda Hopper,^[32] and screenwriter Arthur Laurents, claimed Grant was bisexual.^[33] Grant was allegedly involved with costume designer Orry-Kelly when he first moved to Manhattan,^[34][35] and lived with actor Randolph Scott off and on for 12 years.^[36] Richard Blackwell wrote that Grant and Scott were "deeply, madly in love."^[37] Scotty Bowersalleged in his memoir, Full Service (2012) that he had been intimately involved with both Grant and Scott.^[38] William McBrien, in his biography Cole Porter, says that Porter and Grant frequented the same upscale house of male prostitution in Harlem, run by Clint Moore and popular with celebrities.^[39] All of these claims were published many years after Grant had died. Barbara Harris, Grant's widow, has disputed claims that Grant had had a relationship with Scott.^[40] When Chevy Chase joked in a television interview about Grant's being gay, Grant sued him for slander, and he was forced to retract his words.^[41] However, Grant's one-time girlfriend Maureen Donaldson wrote in her memoir, An Affair to Remember: My Life with Cary Grant (1989), that Grant told her his first two wives had accused him of being homosexual.^{[citation needed]}

In Chaplin's Girl, a biography of Grant's first wife Virginia Cherrill, Miranda Seymour wrote that Grant and Scott were only platonic friends.^[42] Former showgirl Lisa Medford claimed Grant had wanted her to have his child, but she did not want children.^[43]

Grant's daughter Jennifer Grant wrote that her father was not gay in her memoir, Good Stuff (2011), but admitted that he "liked being called gay".^[44][45] In 2012, Dyan Cannon, said that Grant was not gay.^[46]Tallulah Bankhead jokingly referred to Grant as being a lesbian.^[47]

Retirement[edit]

Grant retired from the screen at 62, when his daughter Jennifer was born, to focus on bringing her up and to provide a sense of permanency and stability in her life.^{[citation needed]} While raising his daughter, he archived artifacts of her childhood and adolescence in a bank-quality, room-sized vault he had installed in the house.^{[citation needed]} His daughter attributed this meticulous collection to the fact that artifacts of his own childhood had been destroyed during the Luftwaffe's bombing of Bristol in the Second World War (an event that also claimed the lives of his uncle, aunt, cousin, and the cousin's husband and grandson), and he may have wanted to prevent her from experiencing a similar loss.^[48]

Although Grant had retired from the screen, he remained active. In the late 1960s, he accepted a position on the board of directors at Fabergé.^{[citation needed]} By all accounts this position was not honorary, as some had assumed; Grant regularly attended meetings and his mere appearance at a product launch would almost certainly guarantee its success.^{[citation needed]} The position also permitted use of a private plane, which Grant could use to fly to see his daughter wherever her mother, Dyan Cannon, was working.^{[citation needed]} He later joined the boards of Hollywood Park, the Academy of Magical Arts (The Magic Castle, Hollywood, California), Western Airlines (acquired by Delta Air Lines in 1987), and MGM.^[40]

Grant expressed no interest in making a career comeback and rejected all offers to appear in movies and stage plays.^{[citation needed]} He admitted in interviews that he rarely attended current movies or plays, or kept up with them.^{[citation needed]} During a 1978 sit-down with London Times columnist Roderick Mann, Grant remarked: "I probably have less than 70,000 hours left on this Earth and I'm going to enjoy every one of them."^{[citation needed]} He was in good health until almost the end of his life, when he suffered a mild stroke in October 1984.^{[citation needed]} He appeared on the cover of GQ Magazine several times, the last being the January 1986 issue which hit newsstands just as he celebrated his 82nd birthday.^{[citation needed]}

In the last few years of his life, Grant undertook tours of the United States in a one-man show, A Conversation with Cary Grant, in which he would show clips from his films and answer audience questions.^[40][49]

Death[edit]

Grant was at the Hotel Blackhawk preparing for a performance at the Adler Theatre in Davenport, Iowa, on the afternoon of 29 November 1986, when he collapsed of a cerebral hemorrhage.^{[citation needed]} His then-fifth wife, Barbara Harris, unaware of what was ailing him, went to a local pharmacy to get aspirin. He died at 11:22 p.m.^[40] in St. Luke's Hospital, at age 82. He was cremated and his ashes scattered. The bulk of his estate, worth millions of dollars, went to his wife Barbara Harris and his daughter Jennifer Grant.^[49]

Legacy[edit]

Film critic David Thomson referred to Grant as "the best and most important actor in the history of the cinema",^[15] while the film critic Richard Schickel said that he's the "best star actor there ever was in the movies".^[50] Howard Hawks concurred, remarking that Grant "so far the best that there isn't anybody to be compared to him".^[51] Grant remained one of Hollywood's top box-office attractions for almost 30 years.^{[citation needed]}

Grant poked fun at himself with statements such as, "Everyone wants to be Cary Grant—even I want to be Cary Grant",^[52] and in ad-lib lines—such as in the film His Girl Friday(1940), saying, "I never had so much fun since Archie Leach died".^{[citation needed]} In Arsenic and Old Lace (1944), a gravestone is seen bearing the name Archie Leach. According to a famous story now believed to be apocryphal, after seeing a telegram from a magazine editor to his agent asking, "How old Cary Grant?", Grant reportedly responded, "Old Cary Grant fine. How you?"^[53] [54]

In 2001, a statue of Grant was erected in Millennium Square, a regenerated area next to Bristol Harbour, Bristol, in the city where he was born.^{[citation needed]} In November 2005, Grant came in first in Premiere magazine's list of "The 50 Greatest Movie Stars of All Time".^[55]

From Wikipedia, the free encyclopedia

 

 

Ingrid Bergman
Born	29 August 1915 Stockholm, Sweden
Died	29 August 1982 (aged 67) London, England
Cause of death	Breast cancer
Occupation	Actress
Years active	1932–1982
Spouse(s)	Petter Lindström (1937–1950) Roberto Rossellini (1950–1957) Lars Schmidt (1958–1975)
Children	Pia Lindström, Roberto Ingmar Rossellini, Isabella Rossellini, Isotta Ingrid Rossellini
Parent(s)	Frieda Adler Born: 12 September 1884 Died: 19 January 1918(aged 33) Ingrid's age: 2 Justus Bergman Born: 2 May 1871 Died: 29 July 1929 (aged 58) Ingrid's age: 13[1]

Ingrid Bergman (Swedish pronunciation: [ˈɪŋːrɪd ˈbærjman]; 29 August 1915 – 29 August 1982) was a Swedish actress who starred in a variety of European and American films.^[2] She won three Academy Awards, two Emmy Awards, four Golden Globe Awards, a BAFTA Award and the Tony Award for Best Actress. She is best remembered for her roles as Ilsa Lund in Casablanca (1942), and as Alicia Huberman in Notorious (1946), an Alfred Hitchcock thriller starring Cary Grant.^[3]

Before becoming a star in American films, she had been a leading actress in Swedish films. Her first introduction to U.S. audiences came with her starring role in the English-language remake of Intermezzo (1939). Selznick started Bergman with a one-film role at her insistence (Intermezzo), then signed a four-film contract (also at her insistence) rather than a typical seven-year acting contract.

Selznick's financial problems meant that she was often loaned to the other studios. Apart from Casablanca, her performance from this period include Victor Fleming's remake of Dr. Jekyll and Mr. Hyde (1941), For Whom the Bell Tolls (1943), Gaslight (1944), and The Bells of St. Mary's (1945). Her last films for Selznick were Alfred Hitchcock's Spellbound (1945) and Notorious (1946). Her final film for Hitchcock was Under Capricorn (1949).^[4]

After a decade in American films, she starred in Roberto Rossellini's Stromboli (1950), following the revelation that she was having an extramarital affair with the director. The affair and then marriage with Rossellini created a scandal in the US that forced her to remain in Europe for several years, when she made a successful Hollywood return in Anastasia (1956), for which she won her second Academy Award. Many of her personal and film documents can be seen in the Wesleyan University Cinema Archives.^[5]

According to the St. James Encyclopedia of Popular Culture, Bergman quickly became "the ideal of American womanhood" and a contender for Hollywood's greatest leading actress.^[6] In the United States, she is considered to have brought a "Nordic freshness and vitality" to the screen, along with exceptional beauty and intelligence; her producer David O. Selznick once called her "the most completely conscientious actress" he had ever worked with. In 2007, the American Film Institute ranked Bergman the as the fourth-greatest female actress of classic American cinema.

 

 

Early years: 1915–38[edit]

Bergman, named after Princess Ingrid of Sweden, was born on 29 August 1915 in Stockholm, to a Swedish father, Justus Bergman, and his German wife, Frieda (née Adler) Bergman.^[7][8] When she was two years of age, her mother died. Her father, who was an artist and photographer, died when she was 13. In the years before he died, he wanted her to become an opera star, and had her take voice lessons for three years. But she always "knew from the beginning that she wanted to be an actress," sometimes wearing her mother's clothes and staging plays in her father's empty studio. Her father documented all her birthdays with a borrowed camera.^[9]

After his death, she was sent to live with an aunt, who died of heart disease only six months later. She then moved in with her Aunt Hulda and Uncle Otto, who had five children. Another aunt she visited, Elsa Adler, first told Ingrid, when she was 11, that her mother may have had "some Jewish blood," and that her father was aware of that fact long before they married. But her aunt also cautioned her about telling others about her possible ancestry as "there might be some difficult times coming".^[7]:294

As a result, she received a scholarship to the state-sponsored Royal Dramatic Theatre School, where Greta Garbo had some years earlier earned a similar scholarship. After several months she was given a part in a new play, Ett Brott (A Crime), written by Sigfrid Siwertz. Chandler notes that this was "totally against procedure" at the school, where girls were expected to complete three years of study before getting such acting roles.^[7]:33

During her first summer break, she was also hired by a Swedish film studio, which led to her leaving the Royal Dramatic Theatre after just one year, to work in films full-time. Her first film role after leaving the Royal Dramatic Theatre was a small part in 1935'sMunkbrogreven (although she had previously been an extra in the 1932 film Landskamp). She went on to act in a dozen films inSweden, including En kvinnas ansikte, which was later remade as A Woman's Face with Joan Crawford, and one film in Germany, Die vier Gesellen (The Four Companions) (1938).^[4]

Hollywood period: 1939–49[edit]

Intermezzo: A Love Story (1939)[edit]

Bergman's first acting role in the United States came when Hollywood producer David O. Selznick brought her to America to star in Intermezzo: A Love Story (1939), an English language remake of her earlier Swedish film, Intermezzo (1939). Unable to speak English and uncertain about her acceptance by the American audience, she expected to complete this one film and return home to Sweden. Her husband, Dr. Petter Lindström, remained in Sweden with their daughter Pia (born 1938).^[7]:63 In Intermezzo, she played the role of a young piano accompanist opposite Leslie Howard as a famous violin virtuoso. She arrived in Los Angeles on 6 May 1939, and stayed at the Selznick home until she could find another residence. According to Selznick's son, Danny, who was a child at the time, his father had a few concerns about Ingrid: "She didn't speak English, she was too tall, her name sounded too German, and her eyebrows were too thick."

Bergman was soon accepted without having to modify her looks or name, despite some early suggestions by Selznick.^[7]:6 "He let her have her way," notes a story in Life magazine. Selznick understood her fear of Hollywood make-up artists, who might turn her into someone she wouldn't recognize, and "instructed them to lay off". He was also aware that her natural good looks would compete successfully with Hollywood's "synthetic razzle-dazzle."^[9] During the following weeks, while Intermezzo was being filmed, Selznick was also filming Gone with the Wind. In a letter to William Hebert, his publicity director, Selznick described a few of his early impressions of Bergman:

Miss Bergman is the most completely conscientious actress with whom I have ever worked, in that she thinks of absolutely nothing but her work before and during the time she is doing a picture ... She practically never leaves the studio, and even suggested that her dressing room be equipped so that she could live here during the picture. She never for a minute suggests quitting at six o'clock or anything of the kind ... Because of having four stars acting in Gone with the Wind, our star dressing-room suites were all occupied and we had to assign her a smaller suite. She went into ecstasies over it and said she had never had such a suite in her life ... All of this is completely unaffected and completely unique and I should think would make a grand angle of approach to her publicity ... so that her natural sweetness and consideration and conscientiousness become something of a legend ... and is completely in keeping with the fresh and pure personality and appearance which caused me to sign her.^{[10]:135–136}

Intermezzo became an enormous success and as a result Bergman became a star. The film's director, Gregory Ratoff, said "She is sensational," as an actress. This was the "sentiment of the entire set," writes Life, adding that workmen would go out of their way to do things for her, and the cast and crew "admired the quick, alert concentration she gave to direction and to her lines."^[9] Film historian David Thomson notes that this would become "the start of an astonishing impact on Hollywood and America" where her lack of makeup contributed to an "air of nobility." According to Life, the impression that she left on Hollywood, after she returned to Sweden, was of a tall (5 ft. 9 in.) girl "with light brown hair and blue eyes who was painfully shy but friendly, with a warm, straight, quick smile."^[9] Selznick appreciated her uniqueness, and with his wife Irene, they remained important friends throughout her career.^[11]:76

Casablanca (1942)[edit]

After the onset of World War II, Bergman "felt guilty because she had so misjudged the situation in Germany" while she was there filming Die vier Gesellen (The Four Companions). According to one of her biographers, Charlotte Chandler (2007), she had at first considered the Nazis only a "temporary aberration, 'too foolish to be taken seriously.' She believed Germany would not start a war." Bergman felt that "The good people there would not permit it." Chandler adds, "Ingrid felt guilty all the rest of her life because when she was in Germany at the end of the war, she had been afraid to go with the others to witness the atrocities of the Nazi extermination camps."^{[7]:293–295}

After completing one last film in Sweden and appearing in three moderately successful films (Adam Had Four Sons, Rage in Heaven and Dr. Jekyll and Mr. Hyde, all 1941) in the United States, Bergman co-starred with Humphrey Bogart in the classic film Casablanca (1942), which remains her best-known role. In this film, she played the role of Ilsa, the beautiful Norwegian wife of Victor Laszlo, played by Paul Henreid, an "anti-Nazi underground hero" who is in Casablanca, a haven from the Nazis.^[7] Bergman did not consider Casablanca to be one of her favorite performances. "I made so many films which were more important, but the only one people ever want to talk about is that one with Bogart."^[12] In later years she stated, "I feel about Casablanca that it has a life of its own. There is something mystical about it. It seems to have filled a need, a need that was there before the film, a need that the film filled."^[7]:88

For Whom the Bell Tolls (1943)[edit]

After Casablanca, with "Selznick's steady boosting," she played the part of Maria in For Whom the Bell Tolls (1943), which was also her first color film. For the role she received her first Academy Award nomination for Best Actress. The film was taken from Ernest Hemingway's novel of the same title. When the book was sold to Paramount Pictures, Hemingway stated that "Miss Bergman, and no one else should play the part." His opinion came from seeing her in her first American role, Intermezzo, although he hadn't yet met her. A few weeks later, they did meet, and after studying her he said, "You are Maria!"^[9]

Gaslight (1944)[edit]

The following year, she won the Academy Award for Best Actress for Gaslight (1944), a film in which George Cukor directed her as a "wife driven close to madness" by co-starCharles Boyer. The film, according to Thomson, "was the peak of her Hollywood glory."^[11]:77 Bergman next played a nun in The Bells of St. Mary's (1945) opposite Bing Crosby, for which she received her third consecutive nomination for Best Actress.

Hitchcock films[edit]

Bergman starred in the Alfred Hitchcock films Spellbound (1945), Notorious (1946), and Under Capricorn (1949). Under Capricorn was made in England and is a costume drama set in Australia. Bergman was a student of the acting coach Michael Chekhov during the 1940s. Chekhov acted with Bergman in Spellbound and received his only Academy Award nomination for his performance.^[13]

Joan of Arc (1948)[edit]

Bergman received another Best Actress nomination for Joan of Arc (1948), an independent film based on the Maxwell Anderson play Joan of Lorraine, produced by Walter Wanger, and initially released through RKO. Bergman had championed the role since her arrival in Hollywood, which was one of the reasons she had played it on the Broadway stage in Anderson's play. The film was not a big hit with the public, partly because of the scandal of Bergman's affair with Italian film director Roberto Rossellini, which broke while the film was still in theatres. Even worse, it received disastrous reviews, and although nominated for several Academy Awards, did not receive a Best Picture nomination. It was subsequently cut by 45 minutes, but restored to full length in 1998 and released in 2004 on DVD.

Between motion pictures, Bergman had appeared in the stage plays Liliom, Anna Christie, and Joan of Lorraine. During a press conference in Washington, D.C. for the promotion of Joan of Lorraine, she protested against racial segregation after seeing it first hand at the theater she was acting in. This led to a lot of publicity and some hate mail. Bergman went to Alaska during World War II to entertain US Army troops. Soon after the war ended, she also went to Europe for the same purpose, where she was able to see the devastation caused by the war.^{[citation needed]}

Italian period with Rossellini: 1949–57[edit]

Bergman strongly admired two films by Italian director Roberto Rossellini that she had seen in the United States. In 1949, Bergman wrote to Rossellini, expressing this admiration and suggesting that she make a film with him. This led to her being cast in his film Stromboli (1950). During production, Bergman fell in love with Rossellini, and they began an affair. Bergman became pregnant with their son, Renato Roberto Ranaldo Giusto Giuseppe ("Robin") Rossellini (born 2 February 1950).^[14]:18

This affair caused a huge scandal in the United States, where it led to Bergman being denounced on the floor of the United States Senate. Ed Sullivan chose not to have her on his show, despite a poll indicating that the public wanted her to appear.^[15] However, Steve Allen, whose show was equally popular, did have her as a guest, later explaining "the danger of trying to judge artistic activity through the prism of one's personal life."^[15] Spoto notes that Bergman had, by virtue of her roles and screen persona, placed herself "above all that". She had played a nun in The Bells of St. Mary's (1945) and a virgin saint in Joan of Arc (1948). Bergman later said, "People saw me in Joan of Arc and declared me a saint. I'm not. I'm just a woman, another human being."^[16]

As a result of the scandal, Bergman returned to Italy, leaving her husband and daughter (Pia). She went through a publicized divorce and custody battle for their daughter. Bergman and Rossellini were married on 24 May 1950. In addition to Renato, they had twin daughters (born 18 June 1952): Isabella Rossellini, who became an actress and model, and Isotta Ingrid Rossellini, who became a professor of Italian literature.^{[citation needed]}

Stromboli and "neorealism"[edit]

Rossellini completed five films starring Bergman between 1949 and 1955: Stromboli, Europa '51, Viaggio in Italia, Giovanna d'Arco al rogo, and La Paura (Fear).

Rossellini directed her in a brief segment of his 1953 documentary film, Siamo donne (We, the Women), which was devoted to film actresses.^[14]:18 His biographer Peter Bondanella notes that problems with communication during their marriage may have inspired his films' central themes of "solitude, grace and spirituality in a world without moral values."^[14]:19

Rossellini's use of a Hollywood star in his typically "neorealist" films, in which he normally used non-professional actors, did provoke some negative reactions in certain circles. In Bergman's first film with Rossellini, her character was "defying audience expectations" in that the director preferred to work without a script, forcing Bergman to act "inspired by reality while she worked, a style which Bondanella calls 'a new cinema of psychological introspection'".^[14]:98 Bergman was aware of Rossellini's directing style before filming, as the director had earlier written to her explaining that he worked from "a few basic ideas, developing them little by little" as a film progressed.^[14]:19

After separating from Rossellini, Bergman starred in Jean Renoir's Elena and Her Men (Elena et les Hommes, 1956), a romantic comedy in which she played a Polish princess caught up in political intrigue. Although the film was not a success, her performance in it has since come to be regarded as one of her best.

Later years: 1957–82[edit]

Anastasia (1956)[edit]

With her starring role in 1956's Anastasia (1956), Bergman made a triumphant return to the American screen and won the Academy Award for Best Actress for a second time. The award was accepted for her by her friend Cary Grant.^[17]

Bergman made her first post-scandal public appearance in Hollywood in the 1958 Academy Awards, when she was the presenter of the Academy Award for Best Picture.^[18]She was given a standing ovation, after being introduced by Cary Grant and walking out onto the stage to present the award. She continued to alternate between performances in American and European films for the rest of her career and also made occasional appearances in television dramas such as The Turn of the Screw (1959) for the Ford Startime TV series—for which she won the Emmy Award for Outstanding Single Performance by an Actress.

During this time, she performed in several stage plays. She married producer Lars Schmidt, a fellow Swede, on 21 December 1958. This marriage ended in divorce in 1975. Schmidt died on 18 October 2009. After a long hiatus, Bergman made the film Cactus Flower (1969), with Walter Matthau and Goldie Hawn.

In 1972, U.S. Senator Charles H. Percy entered an apology into the Congressional Record for the attack made on Bergman 22 years earlier by Edwin C. Johnson.

Bergman was the President of the Jury at the 1973 Cannes Film Festival.^[19]

Murder on the Orient Express (1974)[edit]

Bergman became one of the few actresses ever to receive three Oscars when she won her third (and first in the category of Best Supporting Actress) for her performance inMurder on the Orient Express (1974). Director Sidney Lumet offered Bergman the important part of Princess Dragomiroff, with which he felt she could win an Oscar. She insisted on playing the much smaller role of Greta Ohlsson, the old Swedish missionary. Lumet discussed Bergman's role:

"She had chosen a very small part, and I couldn't persuade her to change her mind. She was sweetly stubborn. But stubborn she was... Since her part was so small, I decided to film her one big scene, where she talks for almost five minutes, straight, all in one long take. A lot of actresses would have hesitated over that. She loved the idea and made the most of it. She ran the gamut of emotions. I've never seen anything like it."^{[7]:246–247}

Bergman could speak Swedish (her native language), German (her second language, learned from her German mother and in school), English (learned when brought over to the United States), Italian (learned while living in Italy)^[20] and French (her third language, learned in school). She acted in each of these languages at various times. Fellow actor John Gielgud, who had acted with her in Murder on the Orient Express and who had directed her in the play The Constant Wife, playfully commented: "She speaks five languages and can't act in any of them."^[21]

Although known chiefly as a film star, Bergman strongly admired the great English stage actors and their craft. She had the opportunity to appear in London's West End, working with such stage stars as Michael Redgrave in A Month in the Country (1965), Sir John Gielgud in The Constant Wife (1973) and Wendy Hiller in Waters of the Moon(1977–78).^{[citation needed]}

Autumn Sonata (1978)[edit]

In 1978, Bergman played in Ingmar Bergman's Autumn Sonata (Höstsonaten) for which she received her 7th Academy Award nomination. This was her final performance on the big screen. In the film, Bergman plays a celebrity pianist who travels to Norway to visit her neglected daughter, played by Liv Ullmann. The film was shot in Norway.

In 1979, Bergman hosted the AFI's Life Achievement Award Ceremony for Alfred Hitchcock.^[22]

A Woman Called Golda (1982) – her final role[edit]

She was offered the starring role in a television mini-series, A Woman Called Golda (1982), about the late Israeli prime minister Golda Meir. It was to be her final acting role and she was honored posthumously with a second Emmy Award for Best Actress. Her daughter, Isabella, described Bergman's surprise at being offered the part and the producer trying to explain to her, "People believe you and trust you, and this is what I want, because Golda Meir had the trust of the people." Isabella adds, "Now that was interesting to Mother." She was also persuaded that Golda was a "grand-scale person," one that people would assume was much taller than she actually was. Chandler notes that the role "also had a special significance for her, as during World War II, Ingrid felt guilty because she had so misjudged the situation in Germany."^[7]:293

According to Chandler, "Ingrid's rapidly deteriorating health was a more serious problem. Insurance for Bergman was impossible. Not only did she have cancer, but it was spreading, and if anyone had known how bad it was, no one would have gone on with the project." After viewing the series on TV, Isabella commented,

She never showed herself like that in life. In life, Mum showed courage. She was always a little vulnerable, courageous, but vulnerable. Mother had a sort of presence, like Golda, I was surprised to see it ... When I saw her performance, I saw a mother that I'd never seen before—this woman with balls.^[7]:290

Bergman was frequently ill during the filming although she rarely complained or showed it. Four months after the filming was completed, she died, on her 67th birthday. After her death her daughter Pia accepted her Emmy.^[7]:296

Personal life[edit]

In 1937, at the age of 21, Bergman married dentist Petter Aron Lindström (later to become a neurosurgeon); the couple had a daughter, Friedel Pia Lindström (born 20 September 1938). After returning to the United States in 1940, she acted on Broadway before continuing to do films in Hollywood. The following year, her husband arrived from Sweden with daughter Pia. Lindström stayed in Rochester, New York, where he studied medicine and surgery at the University of Rochester. Bergman would travel to New York and stay at their small rented stucco house between films, her visits lasting from a few days to four months.

According to an article in Life magazine, the "doctor regards himself as the undisputed head of the family, an idea that Ingrid accepts cheerfully." He insisted she draw the line between her film and personal life, as he has a "professional dislike for being associated with the tinseled glamor of Hollywood." Lindström later moved to San Francisco, California, where he completed his internship at a private hospital, and they continued to spend time together when she could travel between filming.^[9]

Bergman returned to Europe after the scandalous publicity surrounding her affair with Italian director Roberto Rossellini during the filming of Stromboli in 1950. In the same month the film was released, she gave birth to a boy, Roberto Ingmar Rossellini (born 2 February 1950). A week after her son was born, she divorced Lindström and married Rossellini in Mexico. On 18 June 1952 she gave birth to the twin daughters Isotta Ingrid Rossellini and Isabella Rossellini. In 1957 she divorced Rossellini. The next year she married Lars Schmidt, a theatrical entrepreneur from a wealthy Swedish shipping family. That marriage lasted nearly two decades, until 1975 when they divorced.^{[citation needed]}

During her marriage with Lindström, Bergman had a brief affair with Spellbound costar Gregory Peck.^[23] Unlike the affair with Rossellini, that with Peck was kept private until he confessed it to Brad Darrach of Peoplein an interview five years after Bergman's death. Peck said, “All I can say is that I had a real love for her (Bergman), and I think that’s where I ought to stop…. I was young. She was young. We were involved for weeks in close and intense work.”^[24][25][26]

Death and legacy[edit]

Bergman died in 1982 on her 67th birthday in London, of breast cancer. Her body was cremated at Kensal Green Cemetery, London, and her ashes taken to Sweden. Most of them were scattered in the sea around the islet of Dannholmen off the fishing village of Fjällbacka in Bohuslän, on the west coast of Sweden, where she spent most of the summers from 1958 until her death in 1982. The rest were placed next to her parents' ashes in Norra Begravningsplatsen (Northern Cemetery), Stockholm, Sweden.

According to biographer Donald Spoto, she was "arguably the most international star in the history of entertainment." After her American film debut in the film Intermezzo: A Love Story (1939), co-starring Leslie Howard, Hollywood saw her as a unique actress who was completely natural in style and without need of makeup. Film critic James Ageewrote that she "not only bears a startling resemblance to an imaginable human being; she really knows how to act, in a blend of poetic grace with quiet realism."^[6]

According to film historian David Thomson, she "always strove to be a 'true' woman", and many filmgoers identified with her:

There was a time in the early and mid-1940s when Bergman commanded a kind of love in America that has been hardly ever matched. In turn, it was the strength of that affection that animated the "scandal" when she behaved like an impetuous and ambitious actress instead of a saint.^[11]:76

Writing about her first years in Hollywood, Life magazine stated that "All Bergman vehicles are blessed," and "they all go speedily and happily, with no temperament from the leading lady."^[9] She was "completely pleased" with her early career's management by David O. Selznick, who always found excellent dramatic roles for her to play, and equally satisfied with her salary, once saying, "I am an actress and I am interested in acting, not in making money." Life adds that "she has greater versatility than any actress on the American screen ... her roles have demanded an adaptability and sensitiveness of characterization to which few actresses could rise."^[9]

She continued her acting career while suffering from cancer for eight years, and won international honors for her final roles. "Her spirit triumphed with remarkable grace and courage," adds Spoto.^[16] Director George Cukor once summed up her contributions to the film media when he said to her, "Do you know what I especially love about you, Ingrid, my dear? I can sum it up as your naturalness. The camera loves your beauty, your acting, and your individuality. A star must have individuality. It makes you a great star. A great star."^[7]:11

For her contributions to the motion picture industry, Bergman has a star on the Hollywood Walk of Fame at 6759 Hollywood Blvd.

Woody Guthrie wrote the erotic song "Ingrid Bergman", which references Bergman's relationship with Roberto Rosselini on the film Stromboli. It was never recorded by Guthrie but, when later found in the Woody Guthrie archives, it was set to music, and recorded, by Billy Bragg on the album Mermaid Avenue.^[27]

In March 2015, a picture of Bergman photographed by David Seymour was chosen for the main poster for the 2015 Cannes Film Festival. A documentary titled Ingrid Bergman: In Her Own Words was also screened at the festival.^[28]

Autobiography[edit]

In 1980, Bergman's autobiography was published under the title Ingrid Bergman: My Story. It was written with the help of Alan Burgess, and in it she discusses her childhood, her early career, her life during her time in Hollywood, the Rossellini scandal, and subsequent events. The book was written after her children warned her that she would only be known through rumors and interviews if she did not tell her own story. It was through this autobiography that her affair with Robert Capa became known.

Awards[edit]

Bergman won three Academy Awards for acting, two for Best Actress and one for Best Supporting Actress. She ranks tied for second place in terms of Oscars won, with Walter Brennan (all three for Best Supporting Actor), Jack Nicholson (two for Best Actor and one for Best Supporting Actor), Meryl Streep (two for Best Actress and one for Best Supporting Actress), and Daniel Day-Lewis (all three for Best Actor). Katharine Hepburn still leads the record with four (all four for Best Actress).

Year	Title of Project	Award
1943	For Whom the Bell Tolls	Nominated — Academy Award for Best Actress
1944	Gaslight	Academy Award for Best Actress Golden Globe Award for Best Actress in a Leading Role Nominated — New York Film Critics Circle Award for Best Actress
1945	The Bells of St. Mary's	Golden Globe Award for Best Actress in a Leading Role New York Film Critics Circle Award for Best Actress (also for Spellbound) Nominated — Academy Award for Best Actress
	Spellbound	New York Film Critics Circle Award for Best Actress (also for The Bells of St. Mary's)
1947	Joan of Lorraine	Tony Award for Best Actress in a Play (tied with Helen Hayes for Happy Birthday (play))
1949	Joan of Arc	Nominated — Academy Award for Best Actress Nominated — Bambi Award for Best Actress — International
1950	Stromboli	Nastro d'Argento Award for Best Foreign Actress
1951	Europe '51	Nastro d'Argento Award for Best Actress
1956	Anastasia	Academy Award for Best Actress David di Donatello Award for Best Foreign Actress Golden Globe Award for Best Actress in a Motion Picture Drama New York Film Critics Circle Award for Best Actress
1958	The Inn of the Sixth Happiness	National Board of Review Award for Best Actress Nominated — BAFTA Award for Best Foreign Actress Nominated — Golden Globe Award for Best Actress in a Motion Picture Drama
	Indiscreet	Nominated — Golden Globe Award for Best Actress – Motion Picture Musical or Comedy
1959	Startime	Primetime Emmy Award for Outstanding Single Performance by an Actress
1961	Twenty Hours in a Woman's Life	Nominated — Primetime Emmy Award for Outstanding Single Performance by an Actress
1970	Cactus Flower	Nominated — Golden Globe Award for Best Actress – Motion Picture Musical or Comedy
1974	Murder on the Orient Express	Academy Award for Best Supporting Actress BAFTA Award for Best Actress in a Supporting Role
1978	Autumn Sonata	David di Donatello Award for Best Foreign Actress National Board of Review Award for Best Actress National Society of Film Critics Award for Best Actress New York Film Critics Circle Award for Best Actress Nominated — Academy Award for Best Actress Nominated — Golden Globe Award for Best Actress in a Motion Picture Drama Nominated — Los Angeles Film Critics Association Award for Best Actress
1982	A Woman Called Golda	Golden Globe Award for Best Actress – Miniseries or Television Film Primetime Emmy Award for Outstanding Lead Actress in a Miniseries or a Movie

From Wikipedia, the free encyclopedia

 

 

Alexandru Gheorghe Plagino (November 16, 1876 – May 3, 1949) was a Romanian sports shooter who competed in the 1900 Summer Olympics.

He was born in Dumbrăveni, Vrancea County.

In 1900 he participated in the trap shooting event and finished thirteenth. He was the first ever Olympic competitor for Romania.