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Läski

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Joo aivan. Isovihan aika mm. Unohtui kokonaan pois.

Ei vittu en edes vilkaise videota kun tiedän jo mitä hevonpaskaa ruotsi fantasia historiaa nämä on taas keksinyt.

"Ingmar Bergman and I seduced one another in the summer of 1952 on an island in the Stockholm archipelago. It was during the movie set of 'Summer with Monika.' It was my first big main role. I was very happy and glad, but at the same time very nervous, because there were so many rumours about Ingmar Bergman; that he beat his actors, kicked them and threw things and such. But nothing of that sort happened. He was charming and a little exciting, I thought. I noticed that he sat and peeked at me a little bit. So one evening when we had come home from the set - we lived on Klockargården on Ornö - he said: "Do you want to come in and drink a cup of tea with me?" I thought: "Yes, I guess I can." And then we sat on some old hard couch there and drank tea. Then suddenly he leans forward and kisses me. Well, 'kisses,' it was more like a peck, I'd say. So I grabbed him and gave him a true round. He was all pale. I remember that couch was very hard and uncomfortable. Then it was time to go back to Stockholm and continue filming in the studio, and then it got somewhat messy, I'd say… We had decided that Ingmar would talk to Gun, his wife, and I would talk to Per Oscarsson, the actor, who I was engaged to. And it was not so easy. Then Ingmar and I moved into a small studio apartment with kitchenette, and he wrote: among other things the script to 'Sawdust and Tinsel,' which we did in 1953, and I played in a revue on Scala (a small theatre in Stockholm). In 1953 we did 'Sawdust and Tinsel' down in Scania and in a studio up in Stockholm. And in the autumn we went down to Malmö, to Malmö City Theatre, where Ingmar was artistic consultant and director, and I was going to be actress and play real theatre. I got to do Hedvig in ’The Wild Duck,’ among other things, and I was given praise for that, and Ingmar was not the one who directed it. I felt we spent night and day on the theatre; it was work all the time. We lived in a three-room apartment - three rooms and kitchen - that the theatre had supplied. We went back and forth. And eventually I guess the passion petered out. Ingmar began to sleep in his study, and I lay alone in that big bed that I had bought when we came down in 1953. In 1955, in the spring, we both felt that there was no point in continuing; it was over between us. But we weren't enemies, thank god. Ingmar I want to thank you so much for all that you taught me about film. And I want to thank you for all the fine roles you wrote for me. Good bye."