“I was fortunate to work with Ingmar,” he said in 1995. “One of the things we believed was that a picture shouldn’t look lit. Whenever possible, I lit with one source and avoided creating double shadows, because that pointed to the photography.”
In his films, especially those with Mr. Bergman, light assumed a metaphysical dimension that went beyond mood. It distilled and deepened the feelings of torment and spiritual separation that afflicted Bergman characters. But in scenes of tranquillity filmed outdoors, the light might also evoke glimpses of transcendence. The sumptuous scenes of a Scandinavian Christmas in “Fanny and Alexander” burst with warmth and a magical, childlike joy.