29/11/2025
COURAGE to change
Sometimes restoring your health requires a lot of courage............. When following "same old, same old, same result ". Same routine prescription, and your health is getting worse and more complex.
Here at Tas Grace Sanctuary, Nubeena, we stepped up to offer a new way of supporting your journey back to health.
We incorporate
Einstein's 'Frequency is the future of medicine', INTO THE NOW!.
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***
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All you need is courage. Courage to give yourself permission to change. To experience a new way of supporting & restoring your health 🦋 🚶‍♀️🚶‍♂️.
Concession and bartering available
Mini session.. 1 hr..$50
Regular.... 2hrs.. $90
Intensive...10hrs..$260
2-day detox& recharge package includes accommodation and mindfulness activities
Call 0412190909 to book www.tasgracesanctuary.org
^^^^^
Ingrid Bergman
A life of courage and authenticity
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She was three years old when her mother died.
Twelve when her father followed.
Six months later, the aunt who'd taken her in died of a heart attack in her arms.
By age thirteen, Ingrid Bergman had been orphaned three times.
She learned early that nothing was permanent. Not love. Not safety. Not even home.
So when Hollywood called in 1939, offering her a new life across the ocean, she went.
Alone.
At twenty-three, she left Sweden with a suitcase and a dream, speaking barely any English, knowing no one, risking everything on the belief that she could make it in American cinema.
She did more than make it.
She became a star.
By 1944, Ingrid Bergman was the most beloved actress in America. She'd played Ilsa in Casablanca. Won an Oscar for Gaslight. Made three films with Hitchcock. Audiences couldn't get enough of her natural beauty, her luminous performances, her wholesome image.
They called her a saint.
America's sweetheart.
The perfect wife and mother.
But Ingrid was suffocating.
Hollywood kept casting her in the same roles. The virtuous woman. The noble victim. The saintly martyr. Her producer, David O. Selznick, was satisfied. Why change a winning formula?
But Ingrid wanted more.
She wanted to be challenged. Pushed. Transformed.
Then in 1948, she saw two Italian films that changed everything.
Rome, Open City and PaisĂ . Both directed by Roberto Rossellini, a pioneer of Italian neorealism. The films were raw, honest, revolutionary. Nothing like the polished Hollywood productions she'd been making.
She had to work with him.
So she did something audacious. She sat down and wrote him a letter.
"Dear Mr. Rossellini," it began. "I saw your films Open City and Paisan, and enjoyed them very much. If you need a Swedish actress who speaks English very well, who has not forgotten her German, who is not very understandable in French, and who in Italian knows only 'ti amo,' I am ready to come and make a film with you."
The letter arrived on May 8, 1948.
Rossellini's birthday.
He wrote back immediately, ecstatic.
But there was a problem.
They were both married.
Ingrid to Dr. Petter Lindstrom, a Swedish surgeon who controlled her career. Roberto to costume designer Marcella de Marchis, though he was living with actress Anna Magnani.
They met anyway.
And within weeks of filming Stromboli on a volcanic island off the coast of Sicily, they fell desperately in love.
The attraction was instant. Overwhelming. Undeniable.
By early 1950, Ingrid was pregnant.
She was still married to Lindstrom, with a ten-year-old daughter named Pia. Roberto was still married to Marcella. The baby would be born out of wedlock.
This was 1950.
Conservative America.
The scandal was nuclear.
On February 2, 1950, Ingrid gave birth to a son, Robertino.
On March 14, 1950, Senator Edwin C. Johnson of Colorado stood on the floor of the United States Senate and denounced her.
He called her "a powerful influence for evil."
An assault on marriage itself.
He and another senator labeled Ingrid and actress Rita Hayworth—who was also in an extramarital affair—"apostles of degradation."
Johnson proposed a bill to license actors and revoke their licenses for "moral turpitude."
The backlash was savage.
Ed Sullivan banned her from his show. Churches condemned her from the pulpit. Her films were boycotted across America. Hate mail poured in—ten to fourteen huge bags of it.
"You are a dirty pr******te," one telegram read. "You are a disgrace to womanhood."
"The best thing for you to do would be to take an overdose of sleeping pills," wrote another.
One former fan wrote: "You are just a common adulteress, worse than a streetwalker. I hope that you will never darken our fair shores again."
Art Buchwald, who read through the mail, recalled: "Oh, that mail was bad. 'Dirty w***e.' 'Bitch.' And they were all Christians who wrote it."
The woman who'd been called a saint was now being called evil.
For following her heart.
Most people would have crumbled. Apologized. Begged for forgiveness.
Ingrid did none of those things.
On May 24, 1950, she married Roberto Rossellini by proxy in Mexico.
She moved to Italy permanently.
She chose love over her career. Her passion over public approval. Her truth over America's script for her life.
And she never apologized.
Not once.
The exile lasted seven years. During that time, she made five films with Rossellini, including the masterpiece Journey to Italy. On June 18, 1952, she gave birth to twin daughters—Isabella and Isotta.
But the Hollywood blacklist was real. Her American career was over. She couldn't see her daughter Pia, who'd been turned against her by her father.
The films with Rossellini were critically acclaimed in Europe but bombed commercially in America.
And the marriage itself was complicated.
Rossellini was possessive, jealous, controlling. He didn't want her working with other directors. He was a spendthrift who left them in mounting debt. He returned to his womanizing ways.
By 1957, after making a documentary in India, Roberto had another affair—this time with screenwriter Sonali Dasgupta.
The marriage was over.
They divorced in November 1957.
Ingrid was forty-two years old. Divorced twice. Exiled from Hollywood. Separated from her children.
Many would have given up.
But Ingrid Bergman had been orphaned three times by age thirteen.
She knew how to survive.
In 1956, before the divorce was final, she'd been offered a role in Anastasia—a film about a woman trying to prove she's a Russian princess.
20th Century Fox was taking a huge risk. Would American audiences accept the "fallen" actress?
They did.
The film premiered December 13, 1956, and was an instant success.
On March 27, 1957, at the 29th Academy Awards, Ingrid Bergman won her second Oscar for Best Actress.
She was in Paris, performing in a play. She couldn't attend.
Her friend Cary Grant—who'd stood by her through the entire scandal—accepted the award on her behalf.
Ingrid heard it on the radio.
While she was in the bathroom.
She later wrote to Grant: "Having known about it all day, but still not GETTING it, I GOT it in the bathroom! What a place to get an Oscar!"
The following year, in 1958, she returned to the Academy Awards in person.
Cary Grant introduced her.
The audience rose to their feet.
The standing ovation was thunderous. It lasted several minutes.
The woman they'd called evil was welcomed home.
She went on to make many more films. Won a third Oscar for Murder on the Orient Express in 1974. Worked until her final year, winning an Emmy for playing Golda Meir in 1982.
She died on August 29, 1982.
Her sixty-seventh birthday.
She'd never regretted leaving America for love. Never regretted choosing Rossellini. Never regretted following her heart instead of Hollywood's script.
She once said: "I've gone from saint to w***e and back to saint again, all in one lifetime."
But the truth is simpler.
She was never a saint.
She was never a w***e.
She was a woman who refused to apologize for being human.
Who chose authenticity over approval.
Who lost everything—and built it back again.
Ingrid Bergman's story isn't about scandal.
It's about courage.
The courage to leave home at twenty-three and build a career in a foreign country. The courage to walk away from that career for love. The courage to endure public hatred without breaking. The courage to return, head held high, and reclaim what was hers.
She was orphaned three times before she was thirteen.
But she refused to be a victim.
She lived on her own terms. Loved on her own terms. Made art on her own terms.
And in the end, the world had no choice but to forgive her.
Because they finally understood what she'd known all along.
She was never theirs to forgive.