Ingrid Thulin Movies

Foreign Intrigue was one of the first major Hollywood films to be based on a popular TV series. Robert Mitchum stars as an American press agent who travels the length and breadth of Europe to learn the past of a recently deceased multimillionaire. After stopovers at the Riviera, Stockholm and Vienna, Mitchum learns that the dead man accumulated his wealth by blackmailing war criminals and Nazi collaborators--all of whom would be happy if Mitchum would disappear, or die, or both. In her first English-language film, Ingrid Thulin (billed as Tulean) plays one of the hero's several amours, as does the toothsome Genevieve Page, likewise making her first American film appearance. After a brief but profitable theatrical release, Foreign Intrigue returned to its roots when producer Sheldon Reynolds sold the picture to TV in 1958. ~ Hal Erickson, All Movie Guide

After exploring his disillusionment with religion in his previous films, Ingmar Bergman adopted a humanistic approach for this classic study in isolationism. Legendary Scandinavian director Victor Sjöström stars as Isak Borg, an aging medical professor who reassesses his life while journeying to his former university to receive an honorary degree. Borg travels with his estranged daughter-in-law Marianne (Ingrid Thulin) and revisits many of the landmarks of his past, conjuring up memories of his family and of his onetime sweetheart Sara (Bibi Andersson). Returning to the present, he meets a teenage girl who resembles the long-departed Sara. She hitches a ride with the professor and Marianne, as do a ceaselessly bickering married couple. These new characters eventually become intertwined with Borg's hazy flashbacks and fantasies, as the old man recalls the disappointments and disillusionments that have left him cold and guilt-ridden, attributes emphasized when he encounters his equally cold and resentful son. Bookending Borg's odyssey of self-discovery are a series of symbolic images at the beginning of the film (a clock without hands, a man without a face) and a hauntingly beautiful finale, in which professor is beckoned back to the "perfect" world he left behind so many years earlier. This classic art movie remains one of Bergman's most accessible films and one of the most influential European art movies of its generation. Its intense focus on one man's thoughts, regrets, and memories set the tone for innumerable psychological character studies in its wake. ~ Hal Erickson, All Movie Guide

Much better known in the U.S. as The Magician, this award-winning, surreal, evocative drama stars Max von Sydow as the title character and features several of Sweden's top performers. Set in the 1840s in Stockholm, the mystery and enigma of life and death itself are embodied in Vogler, the magician who runs "Vogler's Magnetic Health Theater." When his traveling show arrives in town, the police commissioner, a doctor, and a civil servant are intent on putting his supernatural powers to the test. As the pendulum swings between fearful images and moments of comic relief, the mysterious Mr. Vogler defies analysis. In 1959, Ansiktet was given the "Best Film" prize at the British Academy Awards, the "Best Foreign Film" prize at the New York Film Critics Awards, and two prizes at the Venice Film Festival. ~ Eleanor Mannikka, All Movie Guide

Director Mauro Bolognini and Goffredo Parise adapted a skillful Alberto Moravia story into this rather pedestrian drama. An eligible widow (Ingrid Thulin) vacations in Venice with her young son. When Thulin begins a tentative romance with friendly John Saxon, her resentful son runs away from home and gets into trouble, falling in with a gang of hooligans. The rest of the film is bland and predictable, as the harsh realities of street life teach the youngster some valuable lessons, most of which are hammered home with redundant narration. Plot mechanics aside, however, Aldo Tonti's rich cinematography still makes the film worthwhile for those who swoon at the sight of the Lido. ~ Robert Firsching, All Movie Guide

The Winter Light is the second in a trilogy of dramas by acclaimed Swedish director Ingmar Bergman that explores religious faith and doubts in a visceral, visual, and provocative manner. The first, Through a Glass Darkly, was an international success and heralded this new phase in the director's career. This compelling drama is set within a three-hour period on a Sunday afternoon in November, and begins when the local pastor, Tomas Ericsson (Gunnar Bjornstrand), is finishing his sermon. As of late, Pastor Ericsson has watched his congregation dwindle to a minimal level. Among the remaining parishioners is
Marta (Ingrid Thulin) a plain-looking schoolteacher who has long been in love with the pastor. Meanwhile, fisherman Jonas (Max von Sydow) is anxiety-ridden over the nuclear power of the Communist Chinese, but Pastor Ericsson cannot help him, saddled with some overwhelming spiritual dilemmas of his own. As Ericsson struggles with his demons and faces Marta's unwanted (and to him, repugnant) romantic attentions, some hints of the qualities of God begin to surface. ~ Eleanor Mannikka, All Movie Guide

The plot begins when six friends meet in a vacation home one rainy night and talk and talk and talk. Elaine (Ingrid Thulin) is a troubled author who has difficulty writing her next book. She takes to the bottle while trying desperately to keep the marriage to her second husband, Robert (Axel Strøbye), together. His affection for Elaine has waned, but he remains because he feels sorry for her teenage daughter, Rachel (Hanne Ulrich). Robert has an affair with Lena (Ghita Nørby), a woman seeking reassurance of her feminine power after her past two suitors turned homosexual. All six people are forced to spend the night together during a violent storm. Quite a few fine actors were lured into this pseudo-new wave nonsense directed by Annelise Hovmand and Johan Jacobsen -- veterans better known for folksy comedies and straight melodrama. They obviously thought they were doing a film like Bergman this time -- to the point of hiring Bergman-regular Ingrid Thulin, who must have been horrified when she saw the final script. The film was written by an advertising executive, if that's any explanation. ~ Hans J. Wollstein, All Movie Guide

On the night before his marriage, a young man and his fiancee return to the castle where he grew up to find out why he is impotent. In flashbacks, it is shown that his aristocratic mother indulged in nearly every sexual perversion known to man: orgies, incest, and so on. He and his fiancee blow up the castle, and she helps him begin a more normal life. ~ Steve Huey, All Movie Guide

Ingrid Thulin plays the wife of the Swedish Ambassador of Greece. She becomes involved in a romantic triangle, to which you may ask "so what?" In this instance, however, the man who comes between husband and wife has a preference for the husband. Given this, Ingrid feels perfectly within her rights to go off on her own amours. Well...why are you still asking "so what?" ~ Hal Erickson, All Movie Guide

The Hour of the Wolf (original Swedish title: Vargtimmen) is Ingmar Bergman's spin on the demons that plague his fellow creative artists. Max von Sydow plays a painter who, while spending a summer in seclusion with his pregnant wife Liv Ullmann, is visited by bizarre and disturbing visions. Before long, Ullmann is also experiencing her husband's hallucinations; one of these, an old, faceless woman, advises Ullmann to read Von Sydow's diary. Doing so, Ullmann discovers that her husband has been cheating on her with Ingrid Thulin. In the subsequent domestic squabble, Von Sydow shoots and wounds his wife. The artist's punishment for this behavior is to have his lover, now dead, spring back to life and humiliate him in full view of Ullmann. Hour of the Wolf has something to say about the dangers of artists becoming too self-centered and self-involved; one hopes that most artists are not as thoroughly punished (or punishable) as Max Von Sydow. ~ Hal Erickson, All Movie Guide

A recently widowed woman in her early 40s receives a visit from a younger engineer. After the funeral of her husband, the two fall in love and marry. The woman's teenage daughter has eyes for her new stepfather and lets him know her attraction in no uncertain terms. Soon the man is sleeping with mother and daughter while mom keeps silent to keep peace on the home front. The daughter is soon courted by a young man with marriage on his mind, but he shoots the stepfather in a hunting accident. Mother and daughter care for him as he recovers from his wounds. When officials come to the house to give the engineer a coveted award, they leave when they see the house appears to be deserted. Sealed off from the outside world, the trio continues their unusual menage-a-trois, as mother and daughter vie for the man's affections. ~ Dan Pavlides, All Movie Guide

The Ritual is an alternate English-language title for Ingmar Bergman's The Rite (Riten). Made for Swedish television in 1969, this short film was Bergman's revenge against those who opposed his management of the Royal Dramatic Theatre. The storyline involves three actors whose recent production has been judged obscene by the powers-that-be. Bergman deliberately obscures the "controversial" quality of the production itself, forcing the viewers to assess their own opinions over what is obscene and what isn't. Intending to shock and provoke his audience, Bergman was appalled that many viewers laughed at The Rite, misinterpreting it as a satirical comedy. ~ Hal Erickson, All Movie Guide