Why wasn't she nominated for an Oscar for Autumn Sonata?
I credit her for getting a non-mannered performance out of Cate Blanchett in Streetcar. It's what a great director should do: get the best out of an actor, even if it means breaking their well known, but, ultimately, bad habits.
She was wonderful in autumn sonata.
OP, and many others besides.
Just this thread makes DL seem worthwhile.
It should have been another tie that year, Ingrid Bergman & Liv Ullmann should both have won.
She always has been one of those actresses I can't take my eyes off. On the surface she seems rather dull and commonplace - with a peculiar loveliness - and then the quiet (or explosive) possibilities start showing.
"Cries and Whispers" was a movie I kept watching when I was young, because it didn't add up or make sense to me. I didn't realize that was one of the points of sisterhood - you return to your role no matter what epiphanies you achieve, because knowledge is too painful to keep. And the characters were all like fragments of one, better person, but they kept breaking apart.
I have to agree with R1. Cate Blanchett's performance in "Streetcar" was one of the most impressive things I've ever seen on stage. The image of her like a flamingo with its neck broken sitting on the edge of the bed after the rape stays with me to this day. Just a phenomenal performance. Good for Liv Ullmann who clearly directed the hell out of an iconic (and well-known) play.
On the issue of why Liv Ullmann failed to get an Oscar nod for Autumn Sonata, I really don't know. Definitely one of the big misses of the Academy in the 70s. Unless, Bergman siphoned away potential votes for her performance in the same film. That one scene where Ullmann is looking at Bergman play the song "correctly" after she's just supposedly butchered it is very haunting. All the pain she has endured over the years from her icy, distant mother is distilled in that one moment. It's brilliant work.
I think she was also nominated for Best Actress for Face to Face - I'm too lazy to look it up - a film for which Bergman was also mininated for Best Director.
It's probably her best performance, which is really saying something, given how fine she was in other movies.
I agree with the previous comments about her. I must also confess that one of my guilty pleasures is "Lost Horizon."
Liv Love bump
Because only five women can be nominated. That year they were Bergman (a highly acclaimed performance), Fonda for Coming Home (she won), Clayburgh for An Unmarried Woman (a highly popular performance for a highly popular film), Burstyn for Same Time Next Year (reprising her Tony award winning stage performance, Butstyn was at the height of her filmc career) and Page for Interiors (Page was considered one of the great American actresses and rarely gave a film performance without getting an oscar nomination, and she was wonderful in Interiors).
My guess is that someone - likely Burstyn as the other four seemed guaranteed nominees - received one or two more votes for the nomination than Ullmann did. Nothing more dramatic than that.
On another note, if Page's performance had - in my opinion rightly - been considered supporting, Ullmann would have been nominated.
Ullman really should have been nominated for "Lost Horizon."
She should have taken Burstyn's spot. Ellen Burstyn is a great actress, but there was nothing special at all about her performance in STNY.
She is amazing in her European films but made some disasters in America: 40 Carats, Pope Joan, Lost Horizon, and that other one with Peter Finch where she is Garbo's Queen Cristina - cant even think whats its called. Bet no-one saw that!
Pope Joan would be a hoot to see now.
We had this horrible narcissistic dirtbag politician in NYC named Andrew Stein. He believed he was destined to be mayor and maybe even higher. He decided to spread a rumor that he and Liv Ullmann were romantically involved, possibly even engaged. He went a little too far when he sent out invitations to a party to guests like Dustin Hoffman, Shirley McLaine! Leonard Bernstein and Barbra Steisand, claiming the party was being cohosted by Stein and Liv Ullmann.
Liv Ullmann was appearing in a Doll's House at Lincoln Center at the time and sent notes to 100 people saying that Stein never bothered to tell her she was cohosting a party and that in fact, she had no intention of ever doing such a thing. She'd met Stein once at a party and ever since then, he'd been saying they were spending time together "but we're not romantically involved." Ullmann said she never saw him after she left the party -- alone.
Stein tried to save face by claiming Ullmann backed out of the party because she had a jealous bf back in Europe who became angry when he heard about her cohosting a party with another man.
Stein was a laughing stock. Unfortunately, he continues to live and received 500 hours of public service for being involved in a ponzi scheme. Typical rich white guy sentencing. And he claimed to be dating Ann Coulter a while back.
@R15, it's The Abdication. Definitely imperfect but I quite liked it. Speaking of Queen Christina, I wish someone would post the scene of Christina memorizing the interior of the room where she spends the night with her lover--my favorite Garbo moment.
What does Liv do these days?
She refused to give head.
@R18. She directs, and very well.
I think the greater injustice of the Academy was their failure to nominate Ullmann for "Scenes from a Marriage", an unbelievable performance. I believe it was shown on television prior to its theatrical release which, of course, disqualified it for Academy Award consideration.
Liv's performance in Autumn Sonata is not what it could've been, and Ignmar took the blame for it. The character was too one-dimensional, too obvious in some ways, and parts of her screed against her mother just went way over the top. It paled in comparison to what Ingrid did, though I agree it was better than other nominated work. Ingrid should have won over Jane Fonda, by far.
Ingmar had notorious problems with Ingrid stage acting, wanting firm direction, and at the same time having planned out her character exactly, fighting a lot of what the character had done (not accepting that she had abandoned her daughter for her career). Ingrid also had cancer and was not in the best frame of mind.
Ingmar and Ingrid had a chat and Ingrid was so compelling at the end of it that Ingmar wrote Fanny and Alexander with her in mind (and Liv in Ewa Frölings role) but Ingrid was too sick to take the part and Liv had other plans at the time.
But as for Autumn Sonata, Ingmar said his own flaws in the writing and struggles with directing took his focus off of Liv and her character and he couldn't see it at the time how it could've been more his original vision and the character could have had more nuance, more depth and more cleverness.
Scenes from a Marriage was Liv at her most brilliant. And she should have been nominated for part 2 of the Emigrants saga (A New Land in English).
I agree with R22. Having watched the film recently, I was reminded what a self-pitying nag the Ullmann character was, though the actress did what she could with the role and it's clear that you're supposed to sympathize with the daughter more than you do.
I would say that Ullmann's performance in FACE TO FACE is equal to that in SCENES, though just barely if you watch the full 6-hour TV version of SCENES.
The only American film she did that I think works is ZANDY'S BRIDE with Gene Hackman, but that's probably because it was directed by Jan Troell, who did THE EMIGRANTS and THE NEW LAND.
Let's get Ullmann, Streep and Blanchett in a film together. Now THAT would be something to watch.
[quote]Having watched the film recently, I was reminded what a self-pitying nag the Ullmann character was
I ended up siding with the Ingrid Bergman character, who was a lot more entertaining.
Ullmann's also great in "Gaby: A True Story" alongside the sublime Norma Aleandro.
R23 and R25, I totally agree and think Bergman's intent here just didn't came off too heavy-handed. The real sister who deserves pity, disabled, is ignored despite being cared for by the sister who pities herself, talks about forgiveness, and is just bitter. You almost get the impression that her son drowned himself to prevent her from using him to prove what a good mother she could be.
If you go back and look at how overdone it was - the glasses, the hair, the blatant attempt to see how her mother will react as she plods through Chopin, which her mother is renowned for. If her mother patronized her, she'd be punished for that. She was honest with her, and of course she just wanted another reason to blame her mother.
It would've been much more interesting if the daughter had actually been the role model she thought herself was, but with seething resentment underneath, trying to rise above it all. It would've been hard to pull off Ingrid's brilliant reaction as she sits there dreading the music her daughter is playing as it clods along, knowing she's being setup for a no-win situation when it's done -- after all the abandonment there's nothing she could say.
But I would've loved to see a better duel of reactions in that scene. Check it out below...
Ingrid is riveting. You can feel the tension and anxiety, the mix of wanting to love "it" (this pitiful child and the music) knowing she's going to have to say something....
Then Liv, it's brilliant facial counterpoint, longing, admiration, but emptiness and resentment.
We can only imagine how different it would've been it Liv's character had been a bit smarter, talked into playing for her mother, but playing along a bit manipulatively, same emotions but without the pity, just a hard edge...
Like mother, like daughter...
Sorry about that above; I meant Bergman's intent here got the better of it and IT came off too heavy-handed.
Thank you, OP, for taking the gloves off and addressing such a pressing concern.
Did we miss your thread about the crisis in Syria, R29? The refugee crisis in Kenya? Please bump those threads so we can get back to business.
I wonder if Bergman winning for Orient Express a few years earlier hurt her chances of winning for this movie. I know each award should stand on its own, but the academy does seem to keep track of who had won recently etc.
Sadly, R31, I must inform you that my posts on Syria and Kenya were deleted, most likely because I necessarily made reference to Bea Benaderet's role in each crisis. Perhaps the reference to her rendered the threads as timely as... oh, Liv Ullmann's Oscar snub.
...because no one stayed awake through the whole movie
This would also have been Bergman's fourth oscar. No one at that point had four oscars although Kate Hepburn would later get one.
r32, I think you meant to say sorry, r30, not sorry r31. But you can add it to the list of things you need to apologize for.