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“... can attach to them.’ The best thing in Stromboli (1949), the first of Rossellini’s films with Ingrid Bergman, is the documentary sequence of tuna fishing: the reaction shots of Bergman in which Rossellini attempts an articulation – the attachment of an idea to the experience – are clumsy, but the fishing scenes ...”

“... reaches over with her fork and eats most of her husband’s. Does it tell us something about Miss Bergman’s capacity for self-deception that she could neither leave Alan Burgess alone to write her biography nor sit down and write her own? Instead, they did it together, the actress and the author. Mr Burgess wrote The Small Woman, from which Miss ...”

“... correspondences (both sides are published) with Robert Flaherty, Dudley Nichols, Clifford Odets, Ingrid Bergman and François Truffaut. Many letters are exchanged, but since Renoir also actually saw these people, their friendship must have evolved in some space other than their writings, and a lot of the letters are filled with little pleasantries. So ...”

“... to whom he gave pictures of her that she’d been his wife. After the war, he had an affair with Ingrid Bergman – but he did not like Hollywood and neither was willing to shape their life to fit that of the other. When the Second World War arrived he was prepared: with skills, an instinct for where the last bed, bottle, or plane out would be found and ...”

“... in a happy end they can’t want. The characters are Alex and Katherine, George Sanders and Ingrid Bergman. They have come to Italy to sell a property they have inherited from the person they call Uncle Homer, a man who appears to have had the gift for enjoying himself that they so conspicuously lack. The property is a house near Naples. They drive ...”

“... as does Luis Buñuel’s dernier soupir (which appears as the Ultimo Suspiro petrol station). Ingrid Bergman and Humphrey Bogart were wrong, we learn, to think that a sigh is just a sigh: a sigh could be almost anything, and the name Zogoiby is a version of the Arabic elzogoybi, ‘the unlucky one’, the sobriquet traditionally attached to ...”

“... in love with her (her seductively brazen author photos, in which she looks a bit like Ingrid Bergman, suggest a reason). At one point, she goes to the cinema for the first time and tries to get up and leave after the commercials because she thinks it’s over. Now I’m in love with her too. Of the film she says: ‘I’m completely enchanted ...”

“... left Hitchcock with a faint scar on the chin. He also wrote the wondering, stunned reaction of Ingrid Bergman in Notorious (1946) to the news of her father’s suicide (Hitchcock’s elder brother had died, probably by his own hand, in 1943). Such eloquently personal contributions illuminate the idea of authorship.It seems important to know, of ...”

“... member of her generation of ‘European exiles to Hollywood’ along with Peter Lorre and Ingrid Bergman. Carefully researched and zippily written, the book is the definitive companion to Lamarr’s films, from the glamour of Ziegfeld Girl (1941), in which Hedy sported a showstopping jewelled headdress, to the screwball comedy Comrade X ...”

“... rather than the character Christie dreamed of. Penelope Cruz becomes an intriguing variant on Ingrid Bergman, who was already not only playing against type but playing with type. She got an Oscar for failing to pretend to be a diffident, dim-witted Swedish woman full of guilt and religious zeal. The most intriguing comparison perhaps is between ...”

“... to entertain such mundane suspicions – and not to tell ourselves, as Hitchcock memorably told Ingrid Bergman, that it’s only a movie – because there is more, something we don’t see until late in the film. It’s not just that the tripod has a knife, it’s that the camera has a mirror mounted on it and held up to the victim. She sees not only ...”

“... are two good reasons for not worrying about it. First, this is only a movie, as Hitchcock told Ingrid Bergman when she was trying too hard to act like a real person; and second, some people know about the banker’s misdeeds even before they’ve seen the documentation. If we needed a third reason, we could find one in Christopher Plummer, who plays ...”

“... tears, we know she will never be able to cry in this way outside the movie house. She is watching Ingrid Bergman, in Intermezzo, I think, and no one in her film – either in Lust, Caution or in the fiction she is acting out in the story – will ever declare his love, or say anything, as directly as Leslie Howard does in that Western melodrama. There is ...”

“... had some kind of breakdown. Thirteen years later, in Notorious, Grant does a magnificent rescue of Ingrid Bergman, carrying her down a dangerous staircase in front of their enemies. But he hadn’t rescued his mother – and did not, even after he discovered the truth. Elias died in December 1935, yet it was July 1936 before Elsie was released from the ...”

“... Where​ do the noses go?’ Ingrid Bergman asks in For Whom the Bell Tolls, voicing apprehension over how to kiss. ‘Always I wonder where the noses will go.’ For an artist the equivalent might be ‘Where do the thumbs go?’ Hands are notoriously difficult to draw: all those fingers so close together, limblets so expressive when we use them in life, yet often numb and dumb when pictured ...”