题目内容
（请给出正确答案）
[主观题]
Ingrid Bergman's romance with Roberto Rossellini led to her being driven out of the United
States.
A．Y
B．N
C．NG
提问人：网友jj_wong
发布时间：2022-01-06
如搜索结果不匹配，请 
A．Y
B．N
C．NG
题目内容
（请给出正确答案）
您可能会需要：
安装简答题APP，拍照搜题省时又省心！
更多“Ingrid Bergman's romance with …”相关的问题
第1题
Ingrid Bergman took leading roles in many films, such as Spellbound, The Bells of St. Mary
's, Open City, and etc.
点击查看答案
第2题
During playing the role of Israeli Prime Minister Golda Meir, Ingrid Bergman was suffering
from a deadly cancer.
点击查看答案
A．Y
B．N
C．NG
第4题
One of the Greatest Performing Artists of All TimeWhen she appeared on the screen without
One of the Greatest Performing Artists of All Time
When she appeared on the screen without makeup, cosmetic sales in the United States declined. When she played a nun, convent enrollments increased. A fan walked a sheep all the way from Sweden to Rome as a gift for her. Letters were delivered to her addressed simply "Ingrid Bergman—London."
One of the most glamorous women of our time, Ingrid was never anything but her supremely simple self: a stage -struck girl, who loved to gobble ice cream and walk in the min. She wanted to play every part, take every trip, give every party, drink every glass of champagne that life could offer. "I never regretted anything I did," she once said—"just the things I didn't do."
Ingrid lived successively in some of the world's most interesting cities—Stockholm, Hollywood, Rome, Paris and Lon don—and played starring roles on stage, screen and television in five languages. She made 47 films and won three Oscars and an Emmy.
She had a ferocious dedication to her work. "If you took acting away from me," she once claimed, "I'd stop breathing." When Ernest Hemingway told her she would have to cut off her hair for the role of Mafia in For Whom the Bell Tolls, she shot back, "To get that part, I'd cut my head off!" She would rehearse tirelessly until any hour of the night, begging to repeat a scene long after the director was satisfied. Once she even proposed that she live on the set until the filming was over.
At the peak of her stardom, Ingrid insisted on taking screen tests and turned down offers to play the most important parts but accepted offers to play minor parts that were unusual or difficult. She fought for roles like the young bride on the edge of madness in Gaslight and the mousy Swedish missionary in Murder on the Orient Express(both brought her Academy Awards).
Working as an actress who would replace Ingrid during her illness or injury meant never getting the chance to work. She broke her foot at the beginning of the American run of The Constant Wife and played the next five weeks in a wheel chair. No matter how ill she might be, she would say with a grin, "Dr. Stage will cure me" and there she always was when the curtain rose.
From her earliest childhood in Stockholm, Ingrid never had a moment's doubt about where she was going. At 14 she scribbled in her diary her dreams of starring in a movie opposite Sweden's most popular actor—and five years later she was doing just that.
Her luck was as 'phenomenal as her talent. In New York City, a Swedish couple praised a film of hers to their son, an elevator operator in the apartment building where one of film producer David Selznic's young talent scouts lived. Six months later, Ingrid was on her way to Hollywood.
One charming role followed another: the lonely piano teacher in Intermezzo; the passionate psychiatrist in Spellbound, the baseball-playing nun in The Bells of St. Mary's. Within a few years, she was one of American's most popular film stars and a top draw at the world's box office.
Then, one night in 1948, Ingrid went to see Open City, a realistic movie of wartime Rome produced and directed by Roberto Rossellini. Drawn to Roazellini's stormy genius—"I think I fell in love with Roberto the moment I saw the film," Ingrid confided to me later, she impulsively wrote and offered to make a movie with him.
Ingrid flew to Rome—and stayed for seven years. Still married to Petter Lindstrom, she bore Rossellini a child, causing public outrage. And Ingrid was reviled on the floor of the U.S. Senate as unworthy to "set foot on American soil again."
Transformed overnight into box-office poison, Ingrid found her Hollywood career in ruins. The films she made with Rossellini were largely failures—and so, in the end, was their marriage.
In 1956 the clouds finally
A．Y
B．N
C．NG
第7题
Over the years critical reviews of Bergman's work have______.A．without exception been posi
Over the years critical reviews of Bergman's work have______.
A．without exception been positive
B．deplored his seriousness
C．often been antithetical
D．usually focused on his personality
第8题
Section BDirections: There are 2 passages in this section. Each passage is followed by som
Section B
Directions: There are 2 passages in this section. Each passage is followed by some questions or unfinished statements. For each of them there are four choices marked A, B, C and D. You should decide on the best choice.
Movie directors sometimes shoot two endings to a film, undecided about which to use until the very last minute. In the Casablanca everyone knows, Ingrid Bergman leaves Humphrey Bogart, but in another ending Bogart got the girl.
In some ways, it feels like we're in the middle of a movie made by some deranged(疯狂的) economist, and we don't know yet if we're going to get the happy ending or the sad one. Does the rise of India and other developing countries supercharge(提高) global growth, or will all the new competition pull down wages in the industrialized world？ Is this period going to be titled The Bright Dawn or The Big Squeeze？
Certainly for workers in the industrialized world, the latest signs are troubling. Profits seem to be outpacing wages just about everywhere. As a result, from Japan to the U.S. to Europe, labor is getting a smaller share of the economic pie. The numbers are pretty straightforward: In Japan, the share of national income going to workers dropped from 53.1% in 2001 to 51.1% in the year ending with the first quarter of 2005. In the U.S., the employee share of gross domestic income dropped from 58% to 56.8%. In Western Europe, workers' share of national income dropped from 51.7% in 2001 to 50.5% at the end of 2004, before bouncing up a bit in the latest quarter.
An obvious—and pessimistic—explanation for this broad decline is the intensification of global competition, forcing formerly privileged workers in advanced countries to accept a lower standard of living. Harvard economist Richard Freeman has argued that the entry of China, India, and the former Soviet countries into the global economy has effectively doubled the size of the world's workforce. As a result, labor is relatively abundant, capital is relatively scarce, the returns to labor go down, and the returns to capital go up.
"Having twice as many workers and newly the same amount of capital places great pressure on labor markets throughout the world", writes Freeman. That "shifts the balance of power in markets toward capital, as more workers compete for working that capital."
This is the unhappy ending to the global economy story. However, the numbers are also consistent with another, much more upbeat(乐观的)ending. It could be that corporate restructuring efforts in Japan and Europe are finally taking hold, leading to higher profits and faster productivity growth, even as U.S. companies continue their efforts to boost efficiency. And it could be that there's just a lag before the productivity gains get passed on to workers in the form. of higher wages.
So, will we get the happy ending or the sad ending？ There's no way of telling yet—but hey, what fun is a movie with a predictable ending？
Similar to the story in the movie Casablanca, the world economy______.
A．is experiencing dramatic changes
B．is set in complicated political factors
C．involves fierce competition between different parties
D．is developing into two possible opposite directions
第9题
In the reviewer's opinion, Sunday's ChildrenA．is a cinematic first.B．has an original and i
In the reviewer's opinion, Sunday's Children
A．is a cinematic first.
B．has an original and interesting script.
C．is visually and emotionally depressing.
D．surpasses Bergman's previous work.
第10题
Just over 10 years ago, Ingmar Bergman announced that the widely acclaimed Fanny and Alexa
nder would mark his last hurrah as a filmmaker. Although some critics had written him off as earnest but ponderous, others were saddened by the departure of an artist who had explored cinematic moods—from high tragedy to low comedy—during his four-decade career.
点击查看答案
What nobody foresaw was that Bergman would find a variety of ways to circumvent his own retirement—directing television movies, staging theater productions, and writing screenplays for other filmmakers to direct. His latest enterprise as a screenwriter, Sunday's Children, completes a trilogy of family-oriented movies that began with Fanny and Alexander and continued with The Best Intentions written by Bergman and directed by Danish filmmaker Bille August.
Besides dealing with members of Bergman's family in bygone times—it begins a few years after The Best Intentions leaves off—the new picture was directed by Daniel Bergman, his youngest son. Although it lacks the urgency and originality of the elder Bergman's greatest achievements, such as The Silence and Persona, it has enough visual and emotional interest to make a worthy addition to his body of work.
Set in rural Sweden during the late 1920s, the story centers on a young boy named Pu, clearly modeled on Ingmar Bergman himself. Pu's father is a country clergyman whose duties include traveling to the capital and ministering to the royal family. While this is an enviable position, it doesn't assuage problems in the pastor's marriage. Pu is young enough to be fairly oblivious to such difficulties, but his awareness grows with the passage of time. So do the subtle tensions that mar Pu's own relationship with his father, whose desire to show affection and compassion is hampered by a certain stiffness in his demeanor and chilliness in his emotions.
The film's most resonant passages take place when Pu learns to see his father with new clarity while accompanying him on a cross-country trip to another parish. In a remarkable change of tone, this portion of the story is punctuated with flash-forwards to a time 40 years in the future, showing the relationship between parent and child to be dramatically reversed: The father is now cared for by the son, and desires a forgiveness for past shortcomings that the younger man resolutely refuses to grant.
Brief and abrupt though they are, these scenes make a pungent contrast with the sunny landscapes and comic interludes in the early part of the movie.
Sunday's Children is a film of many levels, and all are skillfully handled by Daniel Bergman in his directional debut. Gentle scenes of domestic contentment are sensitively interwoven with intimations of underlying malaise. While the more nostalgic sequences are photographed with an eye-dazzling beauty that occasionally threatens to become cloying, any such result is foreclosed by the jagged interruptions of the flash-forward sequences- an intrusive device that few filmmakers are agile enough to handle successfully, but that is put to impressive use by the Bergman team.
Henrik Linnros gives a smartly turned performance as young Pu, and Thommy Berggren- who starred in the popular Elvira Madigan years ago—is steadily convincing as his father. Top honours go to the screenplay, though, which carries the crowded canvas of Fanny and Alexander and the emotional ambiguity of The Best Intentions into fresh and sometimes fascinating territory.
Over the years critical views of Bergman's work have
A．without exception been positive.
B．deplored his seriousness.
C．often been antithetical.
D．usually focused on his personality.
