Old Hollywood
Cinema
1900-1979

Nostalgia is a seductive liar - George Wildman Ball
Humphrey Bogart & Ingrid Bergman in Casablanca (1942, dir. Michael Curtiz)
“Bogart’s response to the success of Casablanca was more typically sardonic. He enjoyed telling his fourth wife, Lauren Bacall, how Charles Enfield, the studio’s head of publicity, had the amazing revelation that the actor had sex appeal.
Says Bacall, ‘Bogie would say, ‘Of course, I did nothing in Casablanca that I hadn’t done in twenty movies before that, and suddenly they discover I’m sexy. Any time that Ingrid Bergman looks at a man, he has sex appeal.’”
-excerpted from The Making of Casablanca: Bogart, Bergman, and World War II

Humphrey Bogart & Ingrid Bergman in Casablanca (1942, dir. Michael Curtiz)

“Bogart’s response to the success of Casablanca was more typically sardonic. He enjoyed telling his fourth wife, Lauren Bacall, how Charles Enfield, the studio’s head of publicity, had the amazing revelation that the actor had sex appeal.

Says Bacall, ‘Bogie would say, ‘Of course, I did nothing in Casablanca that I hadn’t done in twenty movies before that, and suddenly they discover I’m sexy. Any time that Ingrid Bergman looks at a man, he has sex appeal.’”

-excerpted from The Making of Casablanca: Bogart, Bergman, and World War II

Ingrid Bergman does battle in Joan of Arc (1948, dir. Victor Fleming). Photo by Loomis Dean for LIFE.

Ingrid Bergman does battle in Joan of Arc (1948, dir. Victor Fleming). Photo by Loomis Dean for LIFE.

“I’ve gone from saint to whore and back to saint again, all in one lifetime.”
-Ingrid Bergman

“I’ve gone from saint to whore and back to saint again, all in one lifetime.”

-Ingrid Bergman

Greta Garbo, moments after receiving your dinner invitation.
Rules for meeting Garbo #1: Be unavailable to meet Garbo.
“Of the Swedes who made it big in Hollywood, Garbo was the star of the silent movies era; my mother, Ingrid Bergman, was the star of the sound era. That’s how the press classified them.
When Mother first came to Hollywood, she immediately and politely sent Garbo some flowers and a note - she thought they could share some Swedish evenings: meatballs, aquavit, candles and relaxed conversation in their native tongue. Garbo sent a telegram accepting the invitation, but not until three months later, just as Mother was about to leave town. Mother told the director George Cukor, who was a friend of Garbo’s, about it and Cukor laughed. ‘Of course. Greta wouldn’t have sent the telegram unless she was certain you were leaving!’
-Isabella Rossellini

Greta Garbo, moments after receiving your dinner invitation.

Rules for meeting Garbo #1: Be unavailable to meet Garbo.

“Of the Swedes who made it big in Hollywood, Garbo was the star of the silent movies era; my mother, Ingrid Bergman, was the star of the sound era. That’s how the press classified them.

When Mother first came to Hollywood, she immediately and politely sent Garbo some flowers and a note - she thought they could share some Swedish evenings: meatballs, aquavit, candles and relaxed conversation in their native tongue. Garbo sent a telegram accepting the invitation, but not until three months later, just as Mother was about to leave town. Mother told the director George Cukor, who was a friend of Garbo’s, about it and Cukor laughed. ‘Of course. Greta wouldn’t have sent the telegram unless she was certain you were leaving!’

-Isabella Rossellini

“Be yourself. The world worships the original.”
-Ingrid Bergman 

“Be yourself. The world worships the original.”

-Ingrid Bergman 

Poster art featuring Charles Boyer & Ingrid Bergman for 1944’s Gaslight (dir. George Cukor)

Poster art featuring Charles Boyer & Ingrid Bergman for 1944’s Gaslight (dir. George Cukor)

Charles Boyer & Ingrid Bergman in Gaslight (1944, dir. George Cukor, based on Patrick Hamilton’s 1938 play) (via)
“You are up against the most awful moment of your life, and your whole future depends on what you are going to do in the next hour. Nothing less. You are not going out of your mind, Mrs. Manningham. You are slowly, methodically, systematically being driven out of your mind.”
-Patrick Hamilton, Gaslight: A Victorian Thriller in Three Acts 

Charles Boyer & Ingrid Bergman in Gaslight (1944, dir. George Cukor, based on Patrick Hamilton’s 1938 play) (via)

“You are up against the most awful moment of your life, and your whole future depends on what you are going to do in the next hour. Nothing less. You are not going out of your mind, Mrs. Manningham. You are slowly, methodically, systematically being driven out of your mind.”

-Patrick Hamilton, Gaslight: A Victorian Thriller in Three Acts 

Q. Let’s go back to that time, Ingrid. It is now 1939, and Ingrid Bergman is 22 years old. She is here to play in her first American movie, Intermezzo. She is…how is she?
Ingrid Bergman: She is a girl, always happy, always enthusiastic, and she is the mother of a 12-month-old child. She has come with her child and a suitcase containing a few dresses. She feels rather alone, and speaks practically no English. She only says, “How do you do?”, but she says it with a big smile, so everyone loves her, even the producers who lose sleep over her ice cream. She likes ice cream too much, banana splits in particular, and she eats so many of them that she puts on weight, and they cry - nicely, though. 
[Until the adulterous affair with Roberto Rosselini], I had a very special place in the heart of the Americans. I didn’t know why at the time. I understood later that my success was a woman’s success more than an actress’ success. They were so used to the European prima donnas, who broke mirrors to get things, wear jewels even in bed, and walk holding a tiger on a leash. They were intrigued, then conquered, by the Swedish girl who had arrived with a child and a suitcase. Women, I think, liked me before men. And men identified me with their wives, mothers, and sisters. Not accidently, all the publicity went out about my simplicity, the fact that I didn’t use any lipstick. 
Times were ripe for such a novelty, and you know that talent is not enough without timing. The combination created the love.
-1968, L’Europeo magazine

Q. Let’s go back to that time, Ingrid. It is now 1939, and Ingrid Bergman is 22 years old. She is here to play in her first American movie, Intermezzo. She is…how is she?

Ingrid Bergman: She is a girl, always happy, always enthusiastic, and she is the mother of a 12-month-old child. She has come with her child and a suitcase containing a few dresses. She feels rather alone, and speaks practically no English. She only says, “How do you do?”, but she says it with a big smile, so everyone loves her, even the producers who lose sleep over her ice cream. She likes ice cream too much, banana splits in particular, and she eats so many of them that she puts on weight, and they cry - nicely, though. 

[Until the adulterous affair with Roberto Rosselini], I had a very special place in the heart of the Americans. I didn’t know why at the time. I understood later that my success was a woman’s success more than an actress’ success. They were so used to the European prima donnas, who broke mirrors to get things, wear jewels even in bed, and walk holding a tiger on a leash. They were intrigued, then conquered, by the Swedish girl who had arrived with a child and a suitcase. Women, I think, liked me before men. And men identified me with their wives, mothers, and sisters. Not accidently, all the publicity went out about my simplicity, the fact that I didn’t use any lipstick. 

Times were ripe for such a novelty, and you know that talent is not enough without timing. The combination created the love.

-1968, L’Europeo magazine