Ingrid Bergman, Joan of Arc

as JOAN OF ARC

I was aggressively displeased about having to watch Joan of Arc, for the obvious reason that I've already seen 1928's The Passion of Joan of Arc and knew that the former had no chance of stacking up, no matter the level of softness I have for Ingrid Bergman. And I was right: Joan of Arc is a severely long-winded film, its subject matter superficially Hollywoodified as 1948's half-baked attempt at a Prestige Picture. But the worst part of it all is that this dull dreck is led and anchored by an actress who is wholly miscast.

Ingrid Bergman, The Bells of St. Mary's

as SISTER MARY BENEDICT

Won: New York Film Critics Circle - Best Actress | Golden Globe - Best Actress

Fresh off her Best Actress win, Ingrid Bergman came roaring back in a big way in 1945. With The Bells of St. Mary's being the highest grossing flick of the year, not to mention Spellbound and Saratoga Trunk being the second and seventh highest grossing flicks of the year, her star power was, without a doubt, at supernova levels. Today Mildred Pierce has carried on a more reputable legacy, but Bergman came pretty close to having her own Luise Rainer/Spencer Tracy moment, having picked up Best Actress prizes at the still infantile Golden Globes and the NYFCC. I for one am glad they didn't reward Bergman; not because of the content to which I am averse; rather, in my opinion it's just not a very "winning" role.

Ingrid Bergman, Gaslight

as PAULA ALQUIST

Won: Academy Award - Best Actress

When you have a film like Double Indemnity and a performance like Barbara Stanwyck's having solidified its places in Film Noir and cinematic histories, it's obvious that the performance which beat Stanwyck will have a mini-bad rap. Outlets like The Dissolve proudly proclaim that Ingrid Bergman's Best Actress win for Gaslight is a victory for the wrong role, but I think that's totally unfair to the actual performance itself, and underwriting the performance as a whole. Realistically Bergman would probably have won for anything that year, but Oscar politics aside, she does wonders as the scarred and fragile Paula, whose husband is slowly manipulating her towards insanity. There's no question that hers is the more forgotten performance when placed next to Stanwyck's, and it's not as though it's one of the most memorable winning performances in Best Actress history, but I do believe that it deserves more praise.

Ingrid Bergman, For Whom the Bell Tolls

as MARÍA

The Role: as a 19 year old orphan who has experienced savage cruelties during the Spanish Civil War and falls deeply in love with Gary Cooper, Ingrid Bergman makes her Oscar debut here. Say what you will about For Whom the Bell Tolls and Bergman's performance, but it's always interesting to me watching the very first nominations of the greatest actresses. You catch a glimpse of what they're showcasing to the world, and you can sense that hunger they have in proving themselves. What Bergman does with María in this film is no different from what Kate Hepburn does in Morning Glory or what Bette Davis does in Of Human Bondage--it marks the arrival of a woman who would go on to become one of the great Hollywood icons.