1. Persona
In Ingmar Bergmans 1966 film, Persona, Bibi Andersson and Liv Ullmann exchange identities to the accompaniment of much musing about art, life, and politics, all of it, admittedly, is much more obscure than is strictly necessary. Bergman, when questioned by interviewer John Simon, a writer for The New Leader, about the meaning of his film, and the many images it brings to its viewers, responded, On many points I am unsure, and in one instance, at least, I know nothingFor this reason I invite the audiences fantasy to dispose freely of what I have put at its disposal. Though silent about the films meaning, Bergman cannot help but reveal, though the portrayals, images, and realities of his characters livesclues to what is behind the many masks he himself wears in his personal and public life. Like his viewers, Bergmans identity is a result of his experiences, his culture, his associations and relationships with othersacquaintances, friends and family. And, like his viewers, his personality is a product of his pain, suffering, and disappointments. For all of his cunning creativity and artwork, Bergmans disguise as silent filmmaker belies itself once viewers witness the film. Many of his stories are assumed to have autobiographical significance, to analyse weaknesses he finds in his own character.