Ingrid Bergman took leading roles in many films, such as Spellbound, The Bells of St. Mary

A．Y

B．N

C．NG

A．Y

B．N

C．NG

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

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

听力原文： W: Did you go to the football match on Saturday？

M: No, I had to attend a wedding ceremony, and I was driving all the way from Leeds to Edinburgh. But I listened to the football commentary over the car radio instead. It sounded very exciting indeed, I must say.

W: You must be joking.

M: Why？

W: Well, it's pretty dull, really.

M: Was it？ Come to think of it. That commentator, what's his name？ Urn, Bergman or something, he does tend to overdo it a bit.

W: Well, if he made that football match sound exciting, he certainly did overdo it.

M: How did it go then？ I should have thought that Leeds United did well to win with the York City in their present form.

W: Yes, I suppose they did, but 2:1 didn't do them justice. They should have had at least 3 in the first half, and another 2 in the second.

M: Yes, he mentioned that there were some bad misses.

W: I'll say. You should have seen the one Johnson missed. He got hold of the ball out on the touchline, pushed it up to the outside right, and then ran into the middle for the cross, and when it came, it was a beauty. It dropped right in front of him, and all he had to do was to take his time and pick his spot. And instead, he took a wild swipe at it, and skied it miles over the bar.

M: Anyway, it was a relief my team won the game. Let's not look on the black side. Perhaps they learned their lesson. But I shall have to be off. When shall I see you？

W: Oh, on Saturday, I expect. I will be there in the stadium on Saturday, all being well that is.

M: Where will you be？ Usual place？

W: Yes, usual place, on the terraces.

M: Ok, I'll see you then.

W: Bye.

27.Where was the man when the football match took place on Saturday？

28.What does the woman think of the football commentator？

29.What was the score of the football match？

30.According to the conversation, when will the man see the woman again？

(47)

A．He was attending a wedding ceremony.

B．He was on his way to Edinburgh.

C．He was in the football stadium.

D．He was in the cinema, with the woman.

Ingrid owed her whole career to that elevator boy.

A．Y

B．N

C．NG

Ingrid spent her childhood in Sweden.

A．Y

B．N

C．NG

A.strasberg法

B.Bismuth法

C.Bergman法

D.Scholetal法