This year we celebrate the centenary of the birth of Sven Nykvist ASC FCF (Moheda, 3 dicembre 1922 – Stoccolma, 20 settembre 2006), one of the most important and talented cinematographers in the history of cinema: his legendary and iconic work marked the cinematography of the last century. His association with director Ingmar Bergman is legendary. He has also worked with Woody Allen, Roman Polański, Louis Malle, Andrej Tarkovskij, Bob Rafelson. Master of light and shadows, perfectly at ease with black and white as well as with color, during his career he won two Academy Awards for Cries and Whispers (1972) and Fanny and Alexander (1982). We should therefore remember works such as The Virgin Spring (Jungfrukällan, 1960), Through a Glass Darkly (Såsom i en spegel, 1961), Winter Light (Nattvardsgästerna, 1963), The Silence (Tystnaden, 1963), Persona (1966), Scenes from a Marriage (Scener ur ett äktenskap, 1973), The Tenant (Le Locataire, 1974), The Postman Always Rings Twice (1981), The Unbearable Lightness of Being (1988), Crimes and Misdemeanors (1989). Carl-Gustaf is his son: he was also first cinematographer, then directed several works, including a documentary in honor of his father Sven entitled Light Keeps me Company (2000).
I would like to retrace some moments of your career with you. At the 42nd Cannes Film Festival you presented The Women on the Roof (Kvinnorna på taket, 1989) starring Amanda Ooms, Helena Bergström and Stellan Skarsgård. In addition to being in competition at Cannes, the film won the Award for best Cinematography at the European Film Awards. A drama film that represents your feature film debut, and is a skilful example of the expressive tradition of Scandinavian cinema. What can you tell me about it?
Carl-Gustaf Nykvist with his father Sven Nykvist
Long time ago I was living in the old town of Stockholm. My apartment was near to an old photo studio. I found out that Anna and Linnea were living there at the end of 1800 century. From that, I fantasized about these two women and found the story for the film. Then the film came to the competition in Cannes, not many Swedish films do that, and, of course I was more than pride for this. The first cameraman and I did not get along over the lightning. So he left and I brought in Ulf Brantås, a friend and the one who saved the cinematography in the film. He was the man who won the European film award. We got good reviews and the film was sold to many countries.
The following year Blankt vapen (1990) was released, a film in which a young man helps illegally transport a medieval icon from Germany, which possesses remarkable strengths. In the cast there is Harriet Andersson, who was one of director Ingmar Bergman's regular actresses. A thriller movie?
Blankt vapen is a dark piece in my creative life, and I still have not found out where I did wrong and why. Some said that it was a producer failure, they saw the film and did not complain. But after the film got so bad reviews, they publicly took their hand off the film. I was alone, but the Swedish film community was standing behind me. I still blame myself for not saving the movie in the editing. I was dearly hooked on making a film, a thriller/gangster movie like The American Friend by Wim Wenders, with Bruno Ganz and Dennis Hopper. I was in love whit that kind of movie. I and my wife were expecting our second child during the shooting, which is something I don't recommend for young filmmakers.
Ten years later it's the turn of the documentary dedicated to your father, the legendary cinematographer, winner of two Academy Awards, Sven Nykvist, titled Light Keeps Me Company (Ljuset håller mig sällskap, 2000) and shot in super 16 (Aaton). Why did a decade pass between the two works? Didn't you direct other titles?
After all these bad reviews I got for Blankt vapen, I got cold feet, and I did not get up on the horse again. That was also a mistake, I should have gone back for features again. And I did have the chance with Danish producers, but I did not take it. Which, I’ll really regret for the rest of my life. But I did make some big commercials for Volvo cars and Nike, in the US. I held some film masterclasses at universities.
And therefore remember Sven Nykvist, your father. The documentary is based on Sven's memoirs with himself as the narrator. A journey to the place of birth, Moheda, constitutes the hub of the film. During the journey friends and memories emerge. Among those who appear on the screen, I remember Woody Allen, Ingmar Bergman, Max von Sydow, Roman Polanski, Mia Farrow, and the Italian cinematographers Vittorio Storaro e Giuseppe Rotunno. How did you get the idea of dedicating this doc to your father?
After my father got diagnosed with aphasia, I decided to make the film. It was great to see all these people from all over the world behind us for this task. As producers, we decided that all the income from the film should go to The Foundation in my father’s name. And we will give a Cinematography award to young and promising cinematographers.
In his autobiography, Ingmar Bergman says: “Sometimes I regret having stopped making films. It is a natural thing and it passes quickly. Above all, I miss the collaboration of Sven Nykvist, perhaps because we are both absolutely fascinated by the problem of light”. What memories do you have of Ingmar?
Cries and Whispers by Ingmar Bergman. Cinematography Sven Nykvist
I have a lot of memories of Ingmar. Sometimes it was difficult and sometimes it was a great relationship. He had told my father that I was a talented filmmaker, and he also encourage me to shoot my own films. I did work on Autumn Sonata as a camera assistant. And he did send me to shoot a second unit program. I felt that he believed in me. But once, during the Fanny and Alexander, I find my mother dead in suicide. And I did have a nervous breakdown and my father was called to the hospital. Ingmar went crazy and endangered my father to be fired from the film. That was a very cruel way to handle a working friendship with 22 films together.
Giuseppe Rotunno, in our long conversations, often told me of the esteem and friendship he had for your father. Do you have memories of this?
I was very proud and happy over that. Mr. Rotunno wanted to be in my film about my father. And for me, as a Fellini fan, was very exciting to meet this great legend.
What father was he, Sven?
He was great! We did so much together. I went to live with him at 15 years. I followed him on several film sets around the world. He was a man so nice and kind, to everybody regardless of status. I miss so much our laughing moments. He was very generous. He didn’t mind if I was kidding him whit jokes or pranks. He was also my cinematographer on my commercials. I miss these happy moments.
I guess it was he who passed on to you the passion for cinema.
Well, in one way I chose the film for more lacy reasons. Looking back I wish I had specialized in playwriting. This is what I m doing nowadays.
Outside of his job, what was your father's great passion?
Old farmhouses to be restored, and then tennis, and more tennis.
Can you tell me an anecdote about your father about Italy?
My father was in Rome during World war 2. The year was 1942, November. He was 19th years old and a camera assistent. The Americans were bombing Rome. He was sitting in the bunker with fellows Roman citizen and the Swedish star Viveka Lindfors, he was in secret in love with her. And suddenly she took his hand, because she was afraid of the bombing, but my father didn’t care, he was just in love with this lovely lady. Whatever, but it has to be a very romantic moment in my father’s life. Love and danger always seem to be a combo in strange ways. The first film whit Viveka was Nebbie sul mare, director of photography was Vaclan Vich. They stayed in Pensione Nordica.
Otello Toso and Viveca Lindfors in Nebbie sul mare
Låt mig se (2012) is a docudrama based on stills from the film The Sacrifice by Andrej Tarkovskij. Sven and Andrej meet in a final conversation where they jointly find relief before the implacable. So what can you tell me about it?
As the son, I have a copyright on every film frame in my father's films. So there I was having this idea to make a film about the close relationship they both had with each other, both as buddies and in a strong creative way. It was so sad when Andrej express his sadness over all the lost films they missed working together on. They had so much to do with the great art of poetic films.
The Göteborg International Film Festival was introducing a new award from its 2014 edition, in memory of your father. The award is being funded by the Sven Nykvist Cinematography Foundation. What can you tell me about the Foundation? Do you take care of it personally?
Sven Nykvist and Andrej Tarkovskij
As I told you, I started the doc project Lights Keeps me Company, and I chose to start the Foundation. Now I’m one of the members of the board, together with the producer’s representatives.
Today is Sven's centenary (he was born on December 3, 1922). How did you celebrate this anniversary?
Gothenburg film festival has specialised forums in my father’s name. And this summer I have been on the Bergman week on Fårö island and I presented my book about my father and my film life.
What do you do today? Is theater also one of your interests?
I’m retired now from film work, but I do well indeed in playwriting for theatre. I love it very much.
A question they have asked you hundreds of times: which film of your father do you love most?
The Postman Always Rings Twice.
And instead, which of his films did he particularly love?
I think he has the close heart for Cries and Whispers and Fanny and Alexander.