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      <title>Comments On: In memoriam, Ingmar
    
      by Jonathan Rosenbaum</title>
      <link>http://www.chicagoreader.com/TheBlog/archives/2007/08/07/memorium-ingmar</link>
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      by Jonathan Rosenbaum</description>
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    <title><![CDATA[Re: In memoriam, Ingmar]]></title>
    
    
    <link><![CDATA[http://www.chicagoreader.com/TheBlog/archives/2007/08/07/memorium-ingmar/#972952]]></link>
    
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    <author><![CDATA[David]]></author>
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      <![CDATA[I'm not sure where Rosenbaum is getting his statistics. From everything I've Googled and read, Bergman's films are more popular now, on DVD and in college classes, than those of Bresson, Dreyer, or Godard. (Hitchcock is another story, but then &acirc;&#128;&#148; he's Hitchcock.) I also don't know how anyone could think that a movie like Persona, with its naked acting and mind-warp structure, or Scenes From a Marriage, which so captures the music of relationships that I could it watch forever, is lacking in eternal secrets. What's truly notable about Rosenbaum's dismissal, however, is the battle line he's really drawing: between Bergman the middlebrow, an art filmmaker who actually deigned to tell his stories fluidly (how vulgar!), and Rosenbaum's heroes, such as the arid, oblique Bresson, with his dessicated zombie acting and general lack of forward motion.
    
    Specious as it is, this argument represents what has become a vanguard attitude in the way that foreign films are now routinely celebrated &acirc;&#128;&#148; not for their expression, but for their benumbed lack of expression. You see it in the canonization of directors like Hou Hsiao-hsien and Abbas Kiarostami, the spiritual heirs to Bresson: filmmakers who fetishize their refusal to dramatize, who create art that is meandering and oblique, at times to the point of madness. For a while there in the '50s, '60s, and early '70s, Ingmar Bergman's films held sway as a ''classy'' cultural phenomenon, but through all the symbols, the feverish close-ups, the otherworldly chess games, the torment and the tenderness, what you always felt was his deep desire to connect. That's what made his art, and art film itself, matter.
        
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          Posted by David]]>
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    <pubDate>Wed, 09 Apr 2008 11:05:26 -0500</pubDate> 
    <source url="http://www.chicagoreader.com">Chicago Reader</source>
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    <title><![CDATA[Re: In memoriam, Ingmar]]></title>
    
    
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    <author><![CDATA[Alex Bas]]></author>
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      <![CDATA[Ok, Jonathan, my mistake for trying to find a black cat in the dark room, e.g. my Peckinpah comparison. But I guess Alvodovar is right up there, well at least in your reviews you kinda bash his kinky melodramatic approach ('Talk to her' imo Pedro's best). So it's still more about attitudes, than ehh reality...
    Listening to Tristano, Koenitz & Marsh, very cool, thanks J..
    Actually, as lists already popped up, I'd like to inquire about some what I call essay-film:
    great examples: Los Angeles Plays Itself, Histoire du Cinema, M.Rappaport's trilogy: Rock Hubson, Jean Seberg & Silver Screen, 
    also Zizek's perverted guide and recently mentioned in J.R.'s Cinemascope column - On Stalking and being stalked.
    I would be tremendously happy if somebody could call up the more movies of similar type and style.
        
        <br />
        
          Posted by Alex Bas]]>
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    <pubDate>Wed, 29 Aug 2007 11:44:34 -0500</pubDate> 
    <source url="http://www.chicagoreader.com">Chicago Reader</source>
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    <title><![CDATA[Re: In memoriam, Ingmar]]></title>
    
    
    <link><![CDATA[http://www.chicagoreader.com/TheBlog/archives/2007/08/07/memorium-ingmar/#967656]]></link>
    
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    <author><![CDATA[Germano]]></author>
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      <![CDATA[Jonathan, 
    
    Counting at least 107 comments on this blog's topic, can we call it a record?
        
        <br />
        
          Posted by Germano]]>
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    <pubDate>Tue, 28 Aug 2007 12:39:39 -0500</pubDate> 
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    <title><![CDATA[Re: In memoriam, Ingmar]]></title>
    
    
    <link><![CDATA[http://www.chicagoreader.com/TheBlog/archives/2007/08/07/memorium-ingmar/#948014]]></link>
    
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    <author><![CDATA[Ben]]></author>
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      <![CDATA[I just made a mental note that I am comment#106 so any comments count higher than that I won't read and waste my time. Take Jonathan Lapper's advice: get a drink. But don't use his credit card though.
        
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          Posted by Ben]]>
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    <pubDate>Sun, 26 Aug 2007 11:29:02 -0500</pubDate> 
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    <title><![CDATA[Re: In memoriam, Ingmar]]></title>
    
    
    <link><![CDATA[http://www.chicagoreader.com/TheBlog/archives/2007/08/07/memorium-ingmar/#973612]]></link>
    
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    <author><![CDATA[Colin]]></author>
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      <![CDATA["If one takes a deep breath and reads the article with a clear head, he or she will discover that the term 'overrated' is used in the context of popularity. Not popularity among the cinephile community, but popularity among general moviegoers. By the way, I use popularity to mean recognition." 
    Now things get even fuzzier.  If this is the case, why is Jonathan citing some critic's poll as proof of Bergman being overrated?
        
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          Posted by Colin]]>
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    <pubDate>Sat, 25 Aug 2007 15:40:18 -0500</pubDate> 
    <source url="http://www.chicagoreader.com">Chicago Reader</source>
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    <title><![CDATA[Re: In memoriam, Ingmar]]></title>
    
    
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    <author><![CDATA[Colin]]></author>
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      <![CDATA[Well, since Jonathan has humored me in debating whether or not Bergman is properly "rated", I cannot help but think he does not have a problem with the word overrated, even if he didn't come up with the title of the article.  And the size of Bergman's audience has no bearing on whether or not he is overrated. More people have seen Jumanji than Close-up. But Jumanji isn't overrated because the average Jumanji viewer will tell you the film is mediocre whereas the average Close-up viewer will likely tell you s/he loved it. 
    Similarly, the average critic who sees Ten will likely say it was good or even great, whereas a film like Fanny and Alexander produced a far more divided response when it first came out.  It is only now that Bergman is, once again, in the "dead master" category that he is considered safe for canonization.  Kiarostami is still relatively new to mainstream media and so it isn&acirc;&#128;&#153;t as safe to put him on lists.  I think he will be on these very same lists decades from now when he&acirc;&#128;&#153;s gone.
        
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          Posted by Colin]]>
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    <pubDate>Sat, 25 Aug 2007 13:02:52 -0500</pubDate> 
    <source url="http://www.chicagoreader.com">Chicago Reader</source>
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    <title><![CDATA[Re: In memoriam, Ingmar]]></title>
    
    
    <link><![CDATA[http://www.chicagoreader.com/TheBlog/archives/2007/08/07/memorium-ingmar/#956296]]></link>
    
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    <author><![CDATA[Dottie]]></author>
    <description>
      
      <![CDATA[Please read previous posts and replies.
    
    Since more people know who Bergman is (versus the number of people who know who Dreyer, Bresson, and Kiarostami are) then it follows that more people will rate Bergman as a great filmmaker compared to, say, James Mangold. Thus, Bergman is overrated in comparison to Dreyer, Bresson, or Kiarostami. If one takes a deep breath and reads the article with a clear head, he or she will discover that the term "overrated" is used in the context of popularity. Not popularity among the cinephile community, but popularity among general moviegoers. By the way, I use popularity to mean recognition.
    
    I quote:
    
    "Even stranger to me was the way he always resonated with New York audiences."
    
    And then there is the fact that it was the New York Times who came up with the title for the article and NOT Mr. Rosenbaum. Some people need to do their homework before jerking their knees about.
    
    Now see how easy that was without all the logical and rhetorical circombobulation?
        
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          Posted by Dottie]]>
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    <pubDate>Sat, 25 Aug 2007 12:39:55 -0500</pubDate> 
    <source url="http://www.chicagoreader.com">Chicago Reader</source>
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    <title><![CDATA[Re: In memoriam, Ingmar]]></title>
    
    
    <link><![CDATA[http://www.chicagoreader.com/TheBlog/archives/2007/08/07/memorium-ingmar/#971014]]></link>
    
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    <author><![CDATA[Jonathan Lapper]]></author>
    <description>
      
      <![CDATA[Jonathan,
    
       <strong>Breathless</strong> did make the final cut.  It's a lot of films to look through so it's easy to miss.  I originally posted that I was amazed that <strong>M</strong> didn't make until Edward Copeland e-mailed me to point out that it did.  
    
    I would not worry that you went about things too quickly as I find your list inclusive and diverse.  
    
    Colin said, " Bergman might be getting more praise at the moment but that's simply because it&acirc;&#128;&#153;s safer to give accolades to a "dead master" than a "newer" filmmaker like Kiarostami."  This is probably correct.  I love <strong>Wild Strawberries</strong> and included it on my list.  I realize many would not agree with that and I know you (Jonathan) have asked the Bergman supporters to "explain" his greatness.  I, alas, cannot carry out that task nor do I believe anyone can with any director.  I can tell you that I think the story of an old man coming to terms with his past affects me deeply in the way it was presented.  I can point out camerawork, editing, use of sound, etc.  But of course you and anyone else can point that out with any other movie as well.  If you like the end result of <strong>Wild Strawberries</strong> you understand if you don't you won't understand.  That's why your original piece (that I am embarrassed to say upset me so) makes perfect sense to me as does Bergman's own assessment of Welles.  After all the technical discussion of a work is through it really comes down to how it affects you and if you feel, as I believe you do, that Bergman tells you nothing new about life, then I doubt there is anything I can argue that would change that.  By the same token, you have written about the end of <strong>Artificial Intelligence</strong> and I felt you made a lot of sense.  But... I still didn't like it.  You once wrote that someone trying to convince you otherwise (about the end of <strong>Artificial Intelligence</strong>) may as well be speaking in foreign tongues.  To that I say, "Exactly."  Maybe that's why this Bergman discussion has gone on so long, because people are speaking in two different tongues - The "I like Bergman" tongue and the "I don't like Bergman tongue."  A Tower of Babel of sorts for the film world.  I'm not even that big a fan of Bergman, I just very much like <strong>Wild Strawberries, Persona, and Shame</strong>.  
    
    And one final thought: Many films grow on us in time in different ways.  I originally thought <strong>The Godfather, Part II</strong> was a masterfully done sequel but years later I view it as redundant, telling me nothing new about Michael or Vito that I didn't already know from the first film, just a lot more information.  Also when I first saw <strong>Playtime</strong> I was not that thrilled by it.  But I couldn't stop thinking about it and watched it again when it came out on DVD and now I have seen it countless times, absolutely love it and put it on my top 25 as well.  
    
    Maybe Bergman will change for you, maybe not.  As long as you're honest about it I can't see any problem with vigorous discussion of a exalted director's career.
        
        <br />
        
          Posted by Jonathan Lapper]]>
    </description>
    <pubDate>Sat, 25 Aug 2007 12:29:38 -0500</pubDate> 
    <source url="http://www.chicagoreader.com">Chicago Reader</source>
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    <title><![CDATA[Re: In memoriam, Ingmar]]></title>
    
    
    <link><![CDATA[http://www.chicagoreader.com/TheBlog/archives/2007/08/07/memorium-ingmar/#959384]]></link>
    
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    <author><![CDATA[Colin]]></author>
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      <![CDATA[All that's really been proven in my eyes is that Bergman is overrated by an Edward Copeland poll and a Slate magazine article.  This is, to me, a confirmation of the silliness of discussing how a filmmaker is "rated" by the public.  I guess you've made some kind of point with these two sources.  But anyone can play this game.  Bergman certainly isn't overrated by the many juries who have served on the Cannes and Venice film festivals over the years.  Kiarostami has received the grand prizes for films at both of these festivals while Bergman never has received them from either festival.  But all this game proves is that calling a director overrated is a good way of criticizing him without actually having to evaluate his work on its own terms.  But I do think it&acirc;&#128;&#153;s safe to say that Kiarostami, now more recognize by the American press than he has ever been, has gotten a much more consistent praise than Bergman did when he first reached this level of recognition.  Bergman might be getting more praise at the moment but that's simply because it&acirc;&#128;&#153;s safer to give accolades to a "dead master" than a "newer" filmmaker like Kiarostami.  (Let's face it: even though he's been around for decades, Kiarostami really is "new" to most mainstream American film critics, many of whom haven't seen anything earlier than Taste of Cherry.)  If I have to cite Rotten Tomatoes I will but I hope THAT isn't necessary.  I also have an article somewhere by Phillip Lopate about the extremely polarized response Bergman films received in the sixties.
        
        <br />
        
          Posted by Colin]]>
    </description>
    <pubDate>Sat, 25 Aug 2007 11:35:11 -0500</pubDate> 
    <source url="http://www.chicagoreader.com">Chicago Reader</source>
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    <title><![CDATA[Re: In memoriam, Ingmar]]></title>
    
    
    <link><![CDATA[http://www.chicagoreader.com/TheBlog/archives/2007/08/07/memorium-ingmar/#950365]]></link>
    
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    <author><![CDATA[Jonathan R.]]></author>
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      <![CDATA[A sheepish correction: I now see that the order of my list wasn't in the least bit arbitrary; in fact, it was chronological. I also made a point of not listing two titles for any filmmaker, which may have been a mistake given some personal preferences (e.g., Gertrud, Hiroshima mon amour, Close-up, Contempt, Sansho the Bailiff, among others). I'm amazed, incidentally, that Breathless didn't make the cut of 122 nominations--and that two Almodovar films did.
        
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          Posted by Jonathan R.]]>
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    <pubDate>Sat, 25 Aug 2007 09:37:47 -0500</pubDate> 
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    <title><![CDATA[Re: In memoriam, Ingmar]]></title>
    
    
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    <author><![CDATA[Jonathan R.]]></author>
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      <![CDATA[One reason why I've been slow to respond to Jonathan Lapper's request for me to post my 25 favorite foreign films, as selected for the nominating committee in Edward Copeland's poll of the best foreign language sound films made up through 2002, is that I now feel I may have carried out this work more quickly than I should have. I don't mind the selection, but the order I gave was in most cases quite arbitrary--the order in which some titles came to mind. Anyway, before turning to an ancillary matter, here is the list:
    
    1. M (1931)
    2. Ivan (1932)
    3. L'Atalante (1934)
    4. Story of the Late Chrysanthemums (1939)
    5. Ivan the Terrible (1946)
    6. The Bicycle Thief (1948)
    7. Spring in a Small City (1948)
    8. Los olvidados (1950)
    9. The White Sheik (1951)
    10. Lola Montes (1955)
    11. Ordet (1955)
    12. A Man Escaped (1956)
    13. India (1958)
    14. Breathless (1959)
    15. The Cloud-Capped Star (1960)
    16. Last Year at Marienbad (1961)
    17. Eclipse (1962)
    18. Black Girl (1966)
    19. Playtime (1967)
    20. L'amour fou (1969)
    21. Doomed Love (1978)
    22. Stalker (1979)
    23. A Brighter Summer Day (1991)
    24. The Puppet Master (1993)
    25. The Wind Will Carry Us (1999)
    
    Very few of these titles made it into the 122 titles selected by the 51 nominators as a whole. And I think it's worth adding that seven Bergman titles made it into this list of 122 and none by Kiarostami (or any other Iranian director, or Hou Hsiao-hsien, fior that matter; the only Taiwanese film on the list is Yi Yi). So if Colin can "actually argue that a filmmaker like Kiarostami is rated more highly than Bergman," the raters can't be these 51 nominators as a whole--a group that incidentally doesn't include Roger Ebert.
        
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          Posted by Jonathan R.]]>
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    <pubDate>Sat, 25 Aug 2007 09:28:41 -0500</pubDate> 
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    <title><![CDATA[Re: In memoriam, Ingmar]]></title>
    
    
    <link><![CDATA[http://www.chicagoreader.com/TheBlog/archives/2007/08/07/memorium-ingmar/#969381]]></link>
    
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    <author><![CDATA[ZS]]></author>
    <description>
      
      <![CDATA["My logical game is simply there to point out that the statement I was responding to makes absolutely no sense. Bergman is overrated because other filmmakers contribute as much to cinema as he does? The fact that there are filmmakers as valuable as he is makes him less valuable? I wasn't fishing out a loophole in your argument. I was breaking it down because I found it utterly baffling. I'm sorry if this came across as being unnecessarily daft."
    
    Given your refusal to engage in any contextualiztion here, and instance on playing reductive logical and rhetorical games, it&acirc;&#128;&#153;s no wonder you find things baffling. Since we are talking about the type of praise Bergman has largely received upon death, claiming him the master of all things serious in cinema among other things or in the case of a Salon article the greatest film artist of the century, then it is obvious that he is overrated the moment one steps back and COMPARES NOT RANKS his aesthetic, political, and social contributions to the history of cinema.
        
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          Posted by ZS]]>
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    <pubDate>Sat, 25 Aug 2007 02:05:01 -0500</pubDate> 
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    <title><![CDATA[Re: In memoriam, Ingmar]]></title>
    
    
    <link><![CDATA[http://www.chicagoreader.com/TheBlog/archives/2007/08/07/memorium-ingmar/#963549]]></link>
    
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    <author><![CDATA[Colin]]></author>
    <description>
      
      <![CDATA["Colin, You obviously seem only interested in logical games rather than discussion. Given that I said RANKING directors not COMPARING directors is a pointless exercise. Certainly, one can compare different directors in order to understand larger aesthetic, political, or social questions about film history. RANKING directors, such as what has happened after Bergman&acirc;&#128;&#153;s death, is a pointless exercise and inevitably leads to overrating a director&acirc;&#128;&#153;s work. Other than a mistake about dvd availability, why exactly should JR&acirc;&#128;&#153;s piece have upset Ebert or any so?" 
    My logical game is simply there to point out that the statement I was responding to makes absolutely no sense.  Bergman is overrated because other filmmakers contribute as much to cinema as he does?  The fact that there are filmmakers as valuable as he is makes him less valuable?  I wasn't fishing out a loophole in your argument.  I was breaking it down because I found it utterly baffling.  I'm sorry if this came across as being unnecessarily daft.  
    I think my biggest problem with this entire discussion is the futility of determining whether a filmmaker is overrated.   Calling a filmmaker overrated is usually less than meaningless.  There are millions of different opinions about Ingmar Bergman out there.  It&acirc;&#128;&#153;s pretty much impossible to make any kind of generalization about how he is "rated".  I'd say it is even difficult to make a blanket statement about how Bergman is "rated" by his fans.  I'd actually argue that a filmmaker like Kiarostami is rated more highly than Bergman is.  Bergman's body of work generates more polarized responses than Kiarostami's does, in my opinion.  Reviews Ten and The Wind Will Carry Us were abundantly favorable.  So how exactly is Bergman overrated?
        
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          Posted by Colin]]>
    </description>
    <pubDate>Sat, 25 Aug 2007 01:03:40 -0500</pubDate> 
    <source url="http://www.chicagoreader.com">Chicago Reader</source>
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    <title><![CDATA[Re: In memoriam, Ingmar]]></title>
    
    
    <link><![CDATA[http://www.chicagoreader.com/TheBlog/archives/2007/08/07/memorium-ingmar/#967761]]></link>
    
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    <author><![CDATA[ZS]]></author>
    <description>
      
      <![CDATA[&acirc;&#128;&#156;That said, I think you're coming dangerously close to contradicting yourself. You say that Bergman is overrated because there are "too many great... directors who add as much to the history of cinema..." As much? Just as much? So...equal contributions. Well, if these other filmmakers contribute just as much to cinema as Bergman does then Bergman contributes just as much to cinema as they do. Therefore, by your logic, those filmmakers are overrated as well.&acirc;&#128;&#157;
    
    Colin, You obviously seem only interested in logical games rather than discussion. Given that I said RANKING directors not COMPARING directors is a pointless exercise. Certainly, one can compare different directors in order to understand larger aesthetic, political, or social questions about film history. RANKING directors, such as what has happened after Bergman&acirc;&#128;&#153;s death, is a pointless exercise and inevitably leads to overrating a director&acirc;&#128;&#153;s work. Other than a mistake about dvd availability, why exactly should JR&acirc;&#128;&#153;s piece have upset Ebert or any so? 
    
    Also, I have no idea what your defense of Ebert is. He is a good popular film critic, but if you think he covers a wide spectrum of world cinema in his writings, then you are simply mistaken.
        
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          Posted by ZS]]>
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    <pubDate>Sat, 25 Aug 2007 00:29:16 -0500</pubDate> 
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    <title><![CDATA[Re: In memoriam, Ingmar]]></title>
    
    
    <link><![CDATA[http://www.chicagoreader.com/TheBlog/archives/2007/08/07/memorium-ingmar/#973130]]></link>
    
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    <author><![CDATA[Colin]]></author>
    <description>
      
      <![CDATA[To Jonathan:
    Regardless of whether you said all of his films have an antiseptic style or just a few, the purpose of Ebert's reference to Fanny and Alexander was to point out one of many examples of Bergman films without this style.  Therefore, Ebert&acirc;&#128;&#153;s failure to have seen the uncut version is just as irrelevant.  
    For what it is worth, when I said that Roger was trying to prove that not all Bergman&acirc;&#128;&#153;s films possess this style, I&acirc;&#128;&#153;m simply referring to his argument:
    &acirc;&#128;&#156;Rosenbaum complains of &acirc;&#128;&#156;the antiseptic, upscale look of Mr. Bergman&acirc;&#128;&#153;s interiors.&acirc;&#128;&#157; Would that include the interiors in &acirc;&#128;&#156;The Virgin Spring,&acirc;&#128;&#157; &acirc;&#128;&#156;The Seventh Seal,&acirc;&#128;&#157; &acirc;&#128;&#156;The Passion of Anna,&acirc;&#128;&#157; &acirc;&#128;&#156;The Silence,&acirc;&#128;&#157; &acirc;&#128;&#156;Wild Strawberries,&acirc;&#128;&#157; &acirc;&#128;&#156;Hour of the Wolf,&acirc;&#128;&#157; &acirc;&#128;&#156;Scenes from a Marriage&acirc;&#128;&#157; and indeed &acirc;&#128;&#156;The Magician&acirc;&#128;&#157; and &acirc;&#128;&#156;Persona?&acirc;&#128;&#157; (I would mention &acirc;&#128;&#156;Fanny and Alexander&acirc;&#128;&#157; and its horror-house Lutheran parsonage but Rosenbaum says he hasn&acirc;&#128;&#153;t seen the film voted #3 in the Sight & Sound poll of world directors and critics to determine the best films from 1975-2000.)&acirc;&#128;&#157;
    He would not have felt the need to cite examples of films without this antiseptic look if he didn&acirc;&#128;&#153;t feel that you were making generalizations about Bergman&acirc;&#128;&#153;s work.   Furthermore, I think your argument would seem less ludicrous if you WERE making these sweeping generalizations.  After all, it&acirc;&#128;&#153;s a bit peculiar to accuse a director of being overrated, partially on the basis of his visual style, and fail to mention the fact that about ten of his most acclaimed (or &acirc;&#128;&#156;overrated&acirc;&#128;&#157;) films does NOT possess the style you are describing.  
    The Wind Will Carry Us bit is a mistake on my part but if these two details are you're willing to respond to then I suppose you're right about how little is to be gained from this conversation.
        
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          Posted by Colin]]>
    </description>
    <pubDate>Fri, 24 Aug 2007 22:12:02 -0500</pubDate> 
    <source url="http://www.chicagoreader.com">Chicago Reader</source>
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    <title><![CDATA[Re: In memoriam, Ingmar]]></title>
    
    
    <link><![CDATA[http://www.chicagoreader.com/TheBlog/archives/2007/08/07/memorium-ingmar/#958063]]></link>
    
    <guid isPermaLink="true"><![CDATA[http://www.chicagoreader.com/TheBlog/archives/2007/08/07/memorium-ingmar/#958063]]></guid>
    <author><![CDATA[Jonathan R.]]></author>
    <description>
      
      <![CDATA[To Colin:
    
    Roger didn't say he saw "The Wind Will Carry Us" in his review of "10". All he said is something he could easily have gleaned from just about any review--and, if memory serves, he told me at the time, or perhaps more recently, that he hasn't seen the film.
    
    I didn't make any such claim about Bergman's style always being antiseptic--and if I had, I wouldn't have had to see "Fanny and Alexander" in order to be corrected. I could just as easily have seen "Sawdust and Tinsel," "Smiles of a Summer Night," "The Magic Flute," or plenty of others. But if your understanding of what I wrote or what Roger wrote is really that primitive, there's nothing to be gained from any further discussion.
        
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          Posted by Jonathan R.]]>
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    <pubDate>Fri, 24 Aug 2007 21:27:57 -0500</pubDate> 
    <source url="http://www.chicagoreader.com">Chicago Reader</source>
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    <title><![CDATA[Re: In memoriam, Ingmar]]></title>
    
    
    <link><![CDATA[http://www.chicagoreader.com/TheBlog/archives/2007/08/07/memorium-ingmar/#974273]]></link>
    
    <guid isPermaLink="true"><![CDATA[http://www.chicagoreader.com/TheBlog/archives/2007/08/07/memorium-ingmar/#974273]]></guid>
    <author><![CDATA[Colin]]></author>
    <description>
      
      <![CDATA["Oh no, it&acirc;&#128;&#153;s not ridiculous. What Ebert has reviewed in relation to the aesthetic, political, and national spectrums available in world cinema in the last forty-years is rather narrow. While obviously he shouldn&acirc;&#128;&#153;t review anything he doesn&acirc;&#128;&#153;t want to, nor is required to like anything, the way in which he dismisses Angelopoulos or Kiarostami films suggests a limited frame of reference. When Ebert champions a film like Satantango in one of his review books, then you could make a case that he is moving beyond limited categories by which movies are marketed."
    I'm sorry but... have you ever read Roger Ebert?  Are you aware that he has praised such Iranian filmmakers as Jafar Panahi, Tahmineh Milani, Mohsen Makhmalbaf, and  Babak Payami?  The fact that he doesn't like some of the work of one Iranian filmmaker (for perfectly valid reasons, whether or not you agree with them), does not make him narrow minded.  In the past few years he's hailed filmmakers from various parts of the world: Iran, Russia, Hong Kong, China, Mexico, Senegal, Spain, Romania, and Japan.  These are simply the ones I can think of off hand.  And he hasn't "dismissed" Abba Kiarostami.  He has dismissed the work which he has seen by Kiarostami.  There is a difference.  When he opened his review of 10 with "I have yet to grasp the greatness of Abba Kiarostami", I believe it to be a genuine suggestion that he is certainly trying to.  Anyhow, you can't say that he disliked the film on the basis of a closeminded world view because he has gone out of his way to champion other films from Iran.  
    
    "Also, you misunderstand me entirely. I didn&acirc;&#128;&#153;t say Kiarostami is better than Bergman, but see no reason why the latter should be considered better than the former. The obvious point missed is that ranking directors, or placing them above criticism as seems to be the case here with all the Bergman defenders, is a thoroughly pointless exercise. Regardless of his strengths, Bergman is overrated because there are simply too many great films and directors who add as much to the history of cinema. I personally think he is an overrated misanthrope but I love many of his films: Why exactly is that a contradiction?" 
    No, I'm with you on this one.  Comparing these two very different filmmakers is a pointless exercise.  
    That said, I think you're coming dangerously close to contradicting yourself.  You say that Bergman is overrated because there are "too many great... directors who add as much to the history of cinema..."  As much?  Just as much?  So...equal contributions. Well, if these other filmmakers contribute just as much to cinema as Bergman does then Bergman contributes just as much to cinema as they do. Therefore, by your logic, those filmmakers are overrated as well. 
    So, I guess these filmmakers you are referring to, with their equal contributions to cinema, are all equally overrated.
    But maybe you meant to say that Bergman is overrated because there are simply too many great films and directors who add MORE to the history of cinema.  That would be a more logical argument.  But then you're contradicting what you said about the pointlessness of ranking directors.  
    I hope I don't sound like a smart alec but what I am trying to point out is this: Bergman, Kiarostami, Angelopoulos, and Hsiao are all completely different directors. The existence of one director does not decrease the value of the films of another director.  They exist in their own habitats.  Let's not start devaluing Bergman simply because there are other great filmmakers out there.    (This is why I felt it necessary to cite Rosenbaum&acirc;&#128;&#153;s &acirc;&#128;&#156;In Defense of Non-Masterpieces&acirc;&#128;&#157;.)
        
        <br />
        
          Posted by Colin]]>
    </description>
    <pubDate>Fri, 24 Aug 2007 21:27:17 -0500</pubDate> 
    <source url="http://www.chicagoreader.com">Chicago Reader</source>
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    <title><![CDATA[Re: In memoriam, Ingmar]]></title>
    
    
    <link><![CDATA[http://www.chicagoreader.com/TheBlog/archives/2007/08/07/memorium-ingmar/#963169]]></link>
    
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    <author><![CDATA[ZS]]></author>
    <description>
      
      <![CDATA[&acirc;&#128;&#156;First of all, the claim about Ebert's view of film history is ridiculous. He champions new films every year and his Great Movies collection features dozens upon dozens of "contemporary classics". Not to mention, Ebert hailed Hsiao's Three Times and has at least taken the time to see some of Kiarostami's films. 
    And, let's assume you're right. Let's assume these filmmakers are more worthy of attention than Bergman. Does that mean Bergman is so NOT worthy of attention that he deserves to be called an overrated misanthrope shortly after his death?&acirc;&#128;&#157;
    
    Oh no, it&acirc;&#128;&#153;s not ridiculous. What Ebert has reviewed in relation to the aesthetic, political, and national spectrums available in world cinema in the last forty-years is rather narrow. While obviously he shouldn&acirc;&#128;&#153;t review anything he doesn&acirc;&#128;&#153;t want to, nor is required to like anything, the way in which he dismisses Angelopoulos or Kiarostami films suggests a limited frame of reference. When Ebert champions a film like Satantango in one of his review books, then you could make a case that he is moving beyond limited categories by which movies are marketed.
    
    Also, you misunderstand me entirely. I didn&acirc;&#128;&#153;t say Kiarostami is better than Bergman, but see no reason why the latter should be considered better than the former. The obvious point missed is that ranking directors, or placing them above criticism as seems to be the case here with all the Bergman defenders, is a thoroughly pointless exercise. Regardless of his strengths, Bergman is overrated because there are simply too many great films and directors who add as much to the history of cinema.  I personally think he is an overrated misanthrope but I love many of his films: Why exactly is that a contradiction?
        
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          Posted by ZS]]>
    </description>
    <pubDate>Fri, 24 Aug 2007 20:16:59 -0500</pubDate> 
    <source url="http://www.chicagoreader.com">Chicago Reader</source>
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    <title><![CDATA[Re: In memoriam, Ingmar]]></title>
    
    
    <link><![CDATA[http://www.chicagoreader.com/TheBlog/archives/2007/08/07/memorium-ingmar/#964765]]></link>
    
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    <author><![CDATA[Colin]]></author>
    <description>
      
      <![CDATA[I stumbled onto this chat as I was browsing the site.  I haven't managed to read the entire conversation but I must point out a couple of things I find completely uncalled for, all regarding the criticisms of Roger Ebert.  
    For one, the fact that Ebert has not seen the uncut version of Fanny and Alexander does not invalidate his argument.  He cited the film to prove to Rosenbaum that not all of Bergman's films possess the "upscale, antiseptic" look.  You do not need to see the entire film to realize this.  One need only watch five minutes of the film to realize this.  I'm not saying he shouldn't watch the uncut version but the fact that he hasn't does not get in the way of the point he was making about the cinematography.     
    Now in response to this comment Rosenbaum made:
    "Let&acirc;&#128;&#153;s see if I have this straight. Your letter implies that it&acirc;&#128;&#153;s perfectly OK for Roger to dismiss Abbas Kiarostami as an important filmmaker solely on the basis of Taste of Cherry and 10, thereby consigning The Traveler, Homework, Close-up, the Koker trilogy, and The Wind Will Carry Us to oblivion. It's also OK for Roger to bypass the original version of Fanny and Alexander, which Ingmar Bergman himself preferred, while chastising me for not having yet seen the three-hour version (which I finally caught up with last weekend)."
    Yes, it is.  He was chastising you because you made a claim about Bergman's visual style which is completely contradicted by Fanny and Alexander.  It is unfair to call Bergman's look antiseptic without regarding the stunning visual beauty of one of his most acclaimed films.  The original version, while terrific, is irrelevant to this particular discussion about Bergman's allegedly antiseptic style.  
    Now about Kiarostami.  First of all, Ebert has also seen The Wind Will Carry Us, as he said in his review of 10.  I guess he just didn't consider worthwhile to review.  Is this such a crime?  I think that critics shouldn't waste time discussing films they don't believe to be worthy of discussion.  You of all people should agree with this.  Wasn't it you who refused to watch The Departed on the basis of those involved with it, in spite of its good reviews?  Aren't you consigning that film to oblivion?  At least Ebert didn't refuse to watch or review 10, even though he had already found both Taste of Cherry and The Wind Will Carry Us uninteresting.  I think he should have, just as I think you had every right to pass on The Departed.  Critics should pursue what they find interesting.  If they don't, they're wasting their own time as well as their readers'.  
    I also have to point out that you've misquoted Roger Ebert in a way that distorts what he said about Kiarostami.  You said:
    "Considering that I've seen at least 26 Bergman films whereas Roger's seen only two Kiarostamis, and explicitly declared that 
    'the emperor has no clothes' on the basis of the first of these, it seemed to me like this was a point worth making."
    He said:
    "Both believed they had seen a masterpiece. I thought I had seen an emperor without any clothes."
    It&acirc;&#128;&#153;s highly debatable as to whether he is making a judgment on Kiarostami's entire career or simply making a comment on the particular film he had just seen (Taste of Cherry).  Even if he was referring to Kiarostami, that doesn't make it an overarching comment about every film he has ever produced.  For instance, one could defensibly say, "I've loved Kiarostami's previous films but this time I think the emperor has no clothes".  Furthermore, the fact that Ebert went on to see two more of his films shows that he had not given up on the director at this point.  
    There is one last comment I find particularly disconcerting made by Zs: 
    "The problem, I think, in relation to Bergman&acirc;&#128;&#153;s being over praised&acirc;&#128;&#148;or rather why your piece seemed to raise such ire&acirc;&#128;&#148;is that the Roger Eberts of the world act as if film history ends in the 60&acirc;&#128;&#153;s or something. Yes, Bergman made a lot of masterpieces (at least I&acirc;&#128;&#153;d argue), but in terms of formal innovation, or more broadly using cinema to understand the world, I am not sure why he should be held to a higher esteem than a Kiarostami, Angelopoulos,Hsiao-hsien, or dozens of other directors in the last forty-years that have made as many, if not more so, wonderful films."
    First of all, the claim about Ebert's view of film history is ridiculous.  He champions new films every year and his Great Movies collection features dozens upon dozens of "contemporary classics".  Not to mention, Ebert hailed Hsiao's Three Times and has at least taken the time to see some of Kiarostami's films.  
    And, let's assume you're right.  Let's assume these filmmakers are more worthy of attention than Bergman.  Does that mean Bergman is so NOT worthy of attention that he deserves to be called an overrated misanthrope shortly after his death?  And what's with all this discussion about whether or not Fanny and Alexander is a masterpiece?  Who cares whether or not it is a masterpiece?  I'm inclined to quote Rosenbaum:
    "If we could learn to respect non-masterpieces for a change--some of which are potential masterpieces that we're still trying to understand--we might both be able to chill out." 
    Let's not insult Bergman simply because his work isn't as "masterful" as Kiarostami's or Hsiao's.
        
        <br />
        
          Posted by Colin]]>
    </description>
    <pubDate>Fri, 24 Aug 2007 16:09:53 -0500</pubDate> 
    <source url="http://www.chicagoreader.com">Chicago Reader</source>
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    <title><![CDATA[Re: In memoriam, Ingmar]]></title>
    
    
    <link><![CDATA[http://www.chicagoreader.com/TheBlog/archives/2007/08/07/memorium-ingmar/#969412]]></link>
    
    <guid isPermaLink="true"><![CDATA[http://www.chicagoreader.com/TheBlog/archives/2007/08/07/memorium-ingmar/#969412]]></guid>
    <author><![CDATA[Jonathan Lapper]]></author>
    <description>
      
      <![CDATA[Holy crap!  You guys are still discussing this?  Everyone go get a drink, now.  On me.  Charge it to my credit card.  The number is  1111-1111-1111-1111.  Don't forget the seventh one or it won't work.  And let's see, it expires... uh, says here "sometime in the future".  
    
    Jonathan, I must say (having just stumbled across this blog - I'm a little slow with these things) that I admire your willingness to respond to comments so enduringly.  Anyway, I was wondering if we could see the list of 25 favorite foreign films you submitted as part of the nominating committee for the online poll of favorite foreign films being organized by Edward Copeland.  Your knowledge of non-english language films is formidable to say the least and I and several others would love to see what you submitted.  I'm sure it will make the list I submitted look even more mundane than it already does.  
    
    Sorry I don't have anything to say about the Bergman kerfuffle.  You riled me up pretty well with your Times piece but since then you have explained yourself so well (and at length)that I feel somewhat amused that I ever let it bother me in the first place.  File my initial reaction under "knee-jerk."
    
    And finally, to READER - Now that's a comment!
        
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          Posted by Jonathan Lapper]]>
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    <pubDate>Fri, 24 Aug 2007 10:57:32 -0500</pubDate> 
    <source url="http://www.chicagoreader.com">Chicago Reader</source>
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    <title><![CDATA[Re: In memoriam, Ingmar]]></title>
    
    
    <link><![CDATA[http://www.chicagoreader.com/TheBlog/archives/2007/08/07/memorium-ingmar/#949788]]></link>
    
    <guid isPermaLink="true"><![CDATA[http://www.chicagoreader.com/TheBlog/archives/2007/08/07/memorium-ingmar/#949788]]></guid>
    <author><![CDATA[reader]]></author>
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      <![CDATA[Whoa! Bergman died?!
        
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          Posted by reader]]>
    </description>
    <pubDate>Thu, 23 Aug 2007 22:48:28 -0500</pubDate> 
    <source url="http://www.chicagoreader.com">Chicago Reader</source>
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    <title><![CDATA[Re: In memoriam, Ingmar]]></title>
    
    
    <link><![CDATA[http://www.chicagoreader.com/TheBlog/archives/2007/08/07/memorium-ingmar/#962047]]></link>
    
    <guid isPermaLink="true"><![CDATA[http://www.chicagoreader.com/TheBlog/archives/2007/08/07/memorium-ingmar/#962047]]></guid>
    <author><![CDATA[Germano]]></author>
    <description>
      
      <![CDATA[Maybe its time to all of us get a softer mood on the comments. I know that op-ed piece was very controversial in subject and publication time (the old man die and receive an examination titled "Scenes from an Overrated Career"), but, for my money, JR sincerely and polished had answered lots of questions and provocations coming for all sides (readers, movie directors, other critics). Lets take it easy with him. If we didn't have polemic and courageous writers like JR, the movie critics of the US would dissipate completely. Remember P. Kael, D. Mcdonald and others??
        
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          Posted by Germano]]>
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    <pubDate>Thu, 23 Aug 2007 15:59:43 -0500</pubDate> 
    <source url="http://www.chicagoreader.com">Chicago Reader</source>
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    <title><![CDATA[Re: In memoriam, Ingmar]]></title>
    
    
    <link><![CDATA[http://www.chicagoreader.com/TheBlog/archives/2007/08/07/memorium-ingmar/#951843]]></link>
    
    <guid isPermaLink="true"><![CDATA[http://www.chicagoreader.com/TheBlog/archives/2007/08/07/memorium-ingmar/#951843]]></guid>
    <author><![CDATA[HarryTutle]]></author>
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      <![CDATA[Sorry. All my apologies for preventing your life to go on. I thought we only stirred a pot...
        
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          Posted by HarryTutle]]>
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    <pubDate>Thu, 23 Aug 2007 11:29:49 -0500</pubDate> 
    <source url="http://www.chicagoreader.com">Chicago Reader</source>
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    <title><![CDATA[Re: In memoriam, Ingmar]]></title>
    
    
    <link><![CDATA[http://www.chicagoreader.com/TheBlog/archives/2007/08/07/memorium-ingmar/#967460]]></link>
    
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    <author><![CDATA[Adam]]></author>
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      <![CDATA[I'm sure it's been said before, but I think it's worth saying again: the biggest contributing factor to the outraged response to the article is just the timing of it.  People have increased sympathy for the very recently departed.
        
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          Posted by Adam]]>
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    <pubDate>Thu, 23 Aug 2007 10:42:32 -0500</pubDate> 
    <source url="http://www.chicagoreader.com">Chicago Reader</source>
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    <title><![CDATA[Re: In memoriam, Ingmar]]></title>
    
    
    <link><![CDATA[http://www.chicagoreader.com/TheBlog/archives/2007/08/07/memorium-ingmar/#968214]]></link>
    
    <guid isPermaLink="true"><![CDATA[http://www.chicagoreader.com/TheBlog/archives/2007/08/07/memorium-ingmar/#968214]]></guid>
    <author><![CDATA[Jonathan R.]]></author>
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      <![CDATA[Thanks a bunch, Dottie; you said it all for me.
    
    I think the persisting problem in much of this discussion, if discussion is what it is, is mythology: the mythology of Bergman, the mythology of Allen, the mythology of the Times, even the mythology of little old me. Example, to reply to Harry Tuttle's, "Does it mean you couldn't negotiate the publication of a Bergman article at the Chicago Reader?": Why would I even want to do that, assuming that I could? Am I supposed to ask my editor now in order to find out? Jeez. As I've explained many, many times by now, I was responding to an invitation from the Times. I wouldn't have written the piece otherwise. If that invalidates the piece for you, fine--be my guest and invalidate it. I'd even welcome the gesture. Put it out of your mind. And please let me get on with my life.
        
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          Posted by Jonathan R.]]>
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    <pubDate>Wed, 22 Aug 2007 16:34:47 -0500</pubDate> 
    <source url="http://www.chicagoreader.com">Chicago Reader</source>
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