It is fair to state that Bergman’s career defining films came in the mid-1950’s with Smiles of a Summer Night in 1955, and both The Seventh Seal and Wild Strawberry’s in 1957. Before this point there were a few other notable films of his in the early 50’s Sawdust and Tinsel in 1953 for example, but before this point his work is far less known. Examples include two excellently crafted relationship drama’s Summer Interlude released in 1951 and To Joy released in 1950, but further back still and we reach the first decade of Bergman’s film productions - the 1940’s.

The third film in the trilogy is arguably both the weakest film (although counter arguments could be made that it’s actually the strongest) and also the most loosely tied to the overall thematic exploration. It is the only one of the films which does not refers to the stone faced spider God, and in fact during its entire run makes but one direct reference to God within its dialogue.

Part three of The Faith Trilogy, Bergman's theologically centered films which question the existence of a silent God in a post World War II Europe.

The second part of the trilogy, the literal translation of the title which in Swedish means Holly Communion (perhaps Winter Light is easer to market internationally and the title is appropriate in its own way). The plot line for Winter Light is simple, the concepts and the ideas at play within the film are contrastingly huge, but the plot and its execution remain remarkably singular. Winter Light takes most of its strength from this rarest of rare virtues.

Part two of The Faith Trilogy, Bergman's theologically centered films which question the existence of a silent God in a post World War II Europe.

At some point during Bergman’s career he referred to three of his films as a trilogy, The Faith Trilogy also known as The God and Man trilogy or the God’s silence Trilogy. Later in his career he denied having ever made such a cataloguing of his works, stating that the films were not a trilogy at all. The uncertainly about the trilogy’s name is indicative of the doubt around their connection.

Part one of The Faith Trilogy, Bergman's theologically centered films which question the existence of a silent God in a post World War II Europe.

The late 60’s was a busy time for Bergman, in the space of four years he’d produced films such as Persona, Hour of the Wolf, The Rite, and The Passion of Anna. Whilst typically Bergman fans would accredit Persona with the high honors for this period of his career, and Persona is a truly remarkable film and one of Bergman’s best with truly cogent thematic explorations.

This week Left Field Cinema continues a series of episodes examining the greatest work of Ingmar Bergman. Looking back at his unrelentingly bleak 1968 war film Shame.

There are several unique factors to Scenes From a Marriage when compared to Ingmar Bergman’s previous works. It was produced in the later half of Bergman’s career in 1973 and at this point its style, time setting, subject matter, and run time were on the surface some what alien when compared to his earlier more famous outings. This was his first work for television, a move which would set the trend for most of his remaining major works.