The Virgin Spring

Originally Written and Posted at Epinions.com on 4/16/07 w/ Additional Edits.

Directed by Ingmar Bergman and written by Ulla Isaksson based on an old Swedish ballad, Jungfrukallan (The Virgin Spring) tells the story set in medieval Sweden when a family learns their daughter has been killed and seeks revenge. The film revels on the idea of vengeance and spirituality as Bergman and his screenwriter explore these themes. Starring Bergman regulars Max Von Sydow and Gunnel Lindblom along with Birgitta Valberg, and Birgitta Petersson. Jungfrukallan is a harrowing, meditative film from the great Ingmar Bergman.

It's a typical morning for a loving, Christian family that lives in a farm as a young girl named Karin (Birgitta Petersson) is selected to bring candles to a church in a nearby town. Her mother Mareta (Brigitta Valberg) is excited for her young, virginal daughter as she gives her a gown made by 15 virgins. While Mareta admits to feeling haunted, Karin is too excited about what's going to happen on this day. Her father Tore (Max Von Sydow) is also excited though he wonders who will accompany Karin to the trip. Though their aunt Frida (Gudrun Brost) was suggested, Karin decides to take her foster sister Ingeri (Gunnel Lindblom). Ingeri, however, has a cynical feeling towards Christianity and such while worshiping the God Odin. The pregnant Ingeri accepts the job into accompanying Karin as they make their way towards the mountain path to the town.

Along the way, they stop at a nearby river bank where Ingeri claims that it's cursed as they meet a beggar (Allan Edwall). Karin chooses to go on as Ingeri goes to the home of the beggar where she sees something wrong and is haunted by the beggar's dark behavior. Karin continues to her trip where she's caught the attention of two herdsmen (Axel Duberg & Tor Isedal) and a little boy (Ove Porath). The herdsmen and the boy catch up with Karin where they stop for food and such. During the lunch, Karin talks about what she's doing in the mountains as her innocence wins over the herdsmen. Then suddenly, Karin is being attacked, raped, and later killed as Ingeri witnesses everything including the little boy throwing dirt over her body. The herdsmen and the boy later go to the home of Karin's family.

Seeking work and shelter, the herdsmen hopes to stay for the winter that night as Tore remains suspicious as does the family's priest Simon who haunts the mute, young boy. Especially since the boy's strange behavior towards their food has struck the family odd. Mareta begins to worry and when she sees the virginal gown of her daughter, she knows something is wrong. Tore worries as the motive for revenge occurs as Ingeri returns telling Tore what had happened. Tore and Mareta seek vengeance as they later find the body of their daughter as Tore wonders why has God done something like this.

While the film is simply a revenge tale of sorts, it's really about innocence and how its loss leads to vengeance and the question about God and his mysterious ways. Really, this is a film about spirituality and how it tests someone as devoted as a family who lives under the strict religion of their lord. Bergman's observant, eerie direction really plays to the film's theatrical tone. Particularly in whom Bergman chooses to focus on. In the first act, he focuses on the different personalities of Ingeri and most of all, Karin. Karin represents an innocence, naivete, and purity of a young girl who represents all that is good. Ingeri represents the opposite of Karin with her worship of the pagan god Odin and her look is very dark.

By the second act when Karin's innocence is taken away by an obscene act, the focus is on the herdsmen and the boy. The boy is haunted by what had just happened. In the third, the focus is on the parents and another sinful act that is committed. It is there, particularly in the end is where the question of where Tore questions on what he's done, why he is forced to take vengeance. It is also in this final moment of grief and confusion on why God does these things like taking a child and have her gone. While the film has a slow build-up that makes it a bit of flawed, it's the theatrical tone through Bergman's direction that really makes this drama one of the most intelligent. While audiences may agree or disagree on what Bergman is trying to say about spirituality and the way family plays their role on religion and each other.

Cinematographer Sven Nykvist brings an amazingly intimate yet enchanting look to the film's black-and-white photography. Some of the film's compositions and framing are just breathtaking with wonderful shots and lighting schemes on some of the characters to the close-ups and zooms to observe a scene. The late cinematographer's camera work is a real highlight to the film to convey how he and Bergman would compose such great scenery in some of the film's most harrowing moments. Production designer P.A. Lundgren does excellent work in capturing the intimate look of the living room inside the farm as well as the broken home of the beggar. Costume designer Marik Vos-Lundh helps convey the contrast of the different looks of character in the clothing from the elegant innocence of Karin to the torn, dirty dress that Ingeri wears.

Editor Oscar Rosander does some excellent work in giving the film an elliptical pacing, though flawed, works to convey the momentum and tension to the drama. Sound recordists Aaby Wedin and Staffan Dalin add to the tense atmosphere while in some of the film's more brutal, horrific scenes. There is very little sound only to let the audience see what's going on without having to hear the brutality. Longtime composer Erik Nordgren brings an old-school, folk sound with flutes to convey the sense of innocence of the times while creating a darker score for the film's second half.

The film's cast is wonderfully assembled with Tor Borong and Leif Forstenberg as two farmhands, Oscar Ljung as Tore's main farmhand Simon, Allan Edwall as a lonely beggar, and Gudrun Brost as Karin's aunt Frida. Ove Porath is haunting as the mute boy who is consumed with guilt over what had happened while Axel Duberg & Tor Isedal are great as the murderous herdsman with Duberg as the talkative one and Isedal as the mute herdsman. Bergman regular Gunnel Lindblom is great as the angry, abused Ingeri who is more complex character as a young woman who has been treated like dirt in her family hoping to find some redemption or something. Lindblom's performance is eerie in conveying the darkness and cynicism of her viewpoints on Christianity.

Birgitta Petersson is great as the angelic, innocent Karin with her glorious presence that represents a purity that is rarely scene in film. Petersson captures all the amounts of childhood innocence into her performance as she is kind and sincere though she has one scene where she slaps Ingeri. The fate of her character and Petersson's performance over the sinful act where’s been victimized is one of the most brutal moments to watch. Brigitta Valberg is also excellent as the haunted mother Mareta whose love for daughter is so great that the loss is just overwhelming. Valberg's heartbreak and yearning for vengeance is done with restraint that it shows that something this emotional doesn't have to be over the top. Max Von Sydow is just as great as a loving father who is forced to commit his own sins while becoming broken by what had happened. Von Sydow's performance is just as heartbreaking in the film's ending while his anger over what happened is just horrifying to watch.

Jungfrukallan is a powerful yet chilling film from Ingmar Bergman. Featuring a superb cast led by Max von Sydow, it's a film that is very provocative for discussing themes of spirituality and such in the sinful acts committed as well as challenge the way people play their roles in front of God. It's not an easy film to watch but still a rewarding one as Jungfrukallan is an extraordinary film from Ingmar Bergman.

Ingmar Bergman Films: (Crisis) - (It Rains on Our Love) - (A Ship to India) - (Music in Darkness) - (Port of Call) - (Prison) - (Thirst (1949 film)) - (To Joy) - (This Can’t Be Happen Here) - (Summer Interlude) - Secrets of Women - Summer with Monika - Sawdust and Tinsel - A Lesson in Love - Dreams (1955 film) - Smiles of a Summer Night - The Seventh Seal - (Mr. Sleeman is Coming) - Wild Strawberries - (The Venetian) - (Brink of Life) - (Rabies) - The Magician - The Devil’s Eye - Through a Glass Darkly - Winter Light - The Silence - All These Women - Persona - (Stimulantia-Daniel) - Hour of the Wolf - (Shame (1968)) - (The Rite) - The Passion of Anna - (The Touch) - Cries & Whispers - Scenes from a Marriage - (The Magic Flute) - (Face to Face) - (The Serpent’s Egg) - Autumn Sonata - From the Life of the Marionettes - Fanny & Alexander - (After the Rehearsal) - (The Blessed Ones) - (In the Presence of a Clown) - (The Image Makers) - Saraband

© thevoid99 2012

Smiles of a Summer Night

Originally Written and Posted at Epinions.com on 5/25/09 w/ Additional Edits.

Written and directed by Ingmar Bergman, Sommamattens leende (Smiles of a Summer Night) tells the story of a lawyer at the turn of the century who is married to a 19-year old virgin while his adult son, from a previous marriage is becoming a priest. When he meets a former mistress during a play, she invites him, his wife, son, and some friends for a party in her summer home for one night only. A film that is a comedy in some respects but also filled with Bergman's themes of morality. It would be the film that would help give audience a taste of what is to come from the director, though in a different style. Starring Ulla Jacobson, Gunnar Bjornstrand, Harriet Andersson, Eva Dahlbeck, Margit Carlqvist, Jarl Kulle, Bibi Andersson, and Birgitta Valberg. Sommamattens leende is an excellent, funny film from Ingmar Bergman.

Fredrik Egerman (Gunnar Bjornstrand) is a respected lawyer who is married to 19-year old ingenue named Anne (Ulla Jacobson). Things seem to go well in their life while Fredrik's son Henrik (Bjorn Bjelfvenstam) just passed an examination to become a priest. Living with the Egermans is a young maid named Petra (Harriet Andersson) who often flirts with Henrik. When Fredrik receives tickets for a play starring Desiree Armfeldt (Eva Dahlbeck), it is learned that she is a former mistress of Fredrik just after his first wife had passed away some years ago. During a nap, Fredrik says Desiree's name that bothers Anne while at the play, Anne is distressed as they leave early. Henrik is frustrated over his feelings for Petra believing he has sinned. After that night, Fredrik decides to see Desiree for a chat. Accompanied by Desiree's maid Malla (Gull Natorp), the go to Desiree's home where Fredrik asks for Desiree's help while learning she has a son named Fredrik (Anders Wulff).

Later that evening, a young man named Malcolm (Jarl Kulle) arrives to meet with Desiree but is upset that Fredrik is there. Malcolm is a young Count who is set to leave for war soon while his wife Charlotte (Margit Carlqvist) is a gossip monger. Desiree has an idea during a visit with her mother (Naima Wifstrand) to have the Count and his wife plus the Egermans for a day in the summer at the home of Desiree's mother. Anne decides to go after a visit from Charlotte, who knows that her husband is having an affair. At the house, Petra accompanies the Egermans where she meets Mrs. Armfeldt's servant Frid (Akie Fridell). Anne and Desiree meet as the Count and his wife arrive to the mansion as everyone meets. Charlotte meets with Desiree for a plan of her own. What happens at dinner would reveal some unresolved feelings and desires for all involved. Even as Frid reveals to Petra the three things that happen on a summer night for those who become couples and those who have to figure some things out.

While Bergman throughout his later films would tackle themes of morality, faith, and love in a more cynical, darker presentation. Bergman also can present films with a sense of humor in these subject matters. In this film, it's about a lawyer dealing with old feelings of his mistress as well as his love for his wife. At the same time, his wife is bored with all that is going on while having some repressed feelings of her own while learning about her husband's past with his mistress. While all of that is going on, there's a jealous count, his angry wife, and the lawyer's repressed son who is disgusted by all that is happening.

Bergman's script has a nice structure where the first act introduces Fredrik's life as well as his past with Desiree while being introduced to the jealous Count Malcolm. The second act is about Desiree's plan for a party at her mother's house and Charlotte's plan to expose her husband. All that is well told though it suffers through some pacing issues and trying to keep the story going. Even as it tries to mix comedy and drama that is finally balanced in the third act where everything goes on at the house. Its third act becomes the film's payoff in terms of its spontaneous humor and dark drama, the latter of which would become Bergman's trademark for all of his films to come.

The direction is mostly straightforward in comparison to Bergman's later films which often has striking compositions and eerie camera movements. Still, there's some memorable shots in the film as he creates. Notably the ending that involves Petra and a character commentating all that is happening. While the staging of the drama is mostly theatrical, there's some humor that goes on while in terms of the acting. It's all done in an early 1900 style where the body language shows the characters bowing to each other as a form of introduction. In the more intense, heavy dramatic scenes, there's some great close-up of the characters through zooming close-ups to reveal what is going on as well as its sense of emotional impact. Despite a few flaws in the story and pacing, Bergman does create a solid, whimsical comedy about love and morality.

Bergman's then-longtime cinematographer Gunnar Fischer does excellent work with the film's black-and-white photography. Notably in the nighttime scenes at the mansion with some great, haunting interior shots to capture the mood of the dinner scene. Even in the exterior, there is a beautiful yet dark quality to his camera work. Fischer's shading in some of the nighttime and daytime exteriors are well-made as he brings something that is exquisite in its look and feel. Editor Oscar Rosander does some nice work with the film's smooth transitions with straight cuts, fade-outs, and dissolves to give the film a nice feel though its pacing at times, lags the film a bit in its humor and drama.

Production designer P.A. Lundgren does fantastic work with the lavish homes that the characters live in with such detail to early 20th Century antiques and furniture along with the chairs. The look of the sets and decorations are filled with elegant details along with the use of candles with dripping wax as it's one of the film's technical highlights. The costume design work of Mago is very exquisite with its flowing, large dresses and hats of the times along with the suits that the men wear. The sound work by Per-Olof Pettersson and Lennart Wallin is very good in capturing the raucous sounds of the theaters and the quiet atmosphere of the Armfeldt mansion. The music by Erik Nordgren is wonderful for its upbeat, flowing arrangements filled with comical pieces and huge, triumphant pieces with large arrangements. Even in the more romantic scenes, there's something that is somber of what goes on as it plays well to its humor and drama.

The cast is well-assembled with some memorable small roles from Anders Wulff as Desiree's son Fredrik, Gull Natorp as Desiree's assistant Malla, Jullan Kindahl as Anne and Fredrik's cook Beata, and in early film roles, Birgitta Valberg and Bibi Andersson as actresses on the stage. Naima Wifstrand is very good as Mrs. Armfeldt, Desiree's mother who comments all the things wrong with the world including the young people of its time. Ake Fridell is great as the lively Frid, a man who is so full of charm as he wows the young Petra over his lust for life and all of the things that makes the world good. Bjorn Bjelfvenstam is excellent as Henrik, Fredrik's 19-year old son who wants to be a priest but struggles against the dark ways of the world as well as his feelings for women. Jarl Kulle is good as Count Malcolm, a young jealous military officer who wears a stupid mustache while couldn't hold his feelings for both Desiree and his wife Charlotte.

Margit Carlqvist is great as Charlotte, a young, scorned wife who is aware of her husband's affairs as she hopes to get revenge on him by seducing Fredrik. Harriet Andersson is wonderful as the lively, flirtatious maid Petra, who likes to bare her cleavage to Henrik. Ulla Jacobson is very good as Anne, the young virginal wife of Fredrik who is confused after she hears him say Desiree's name in his sleep as she also has some repressed feelings for someone else around her. Gunnar Bjornstrand is excellent as Fredrik, a man who is confused over his love for Anne but his feelings for Desiree while dealing with all of the chaos that surrounds him during a night at the Armfeldt mansion. Finally, there's Eva Dahlbeck in a fantastic role as Desiree, a lively woman who realizes she still has feelings for Fredrik while trying to contend the jealousy of Malcolm as she makes a move that would change everything.

Sommamattens leende is an excellent, whimsical comedy from Ingmar Bergman featuring a superb cast led by Eva Dahlbeck, Gunnar Bjornstrand, Ulla Jacobson, and Harriet Andersson. While the film may not have the serious, heavy themes of other films that would follow, it's a film that shows Bergman's versatility in the themes and genres he explores. In the end, while it may not reach the heights of his later, more-well known films, Sommamattens leende is still a fascinating, entertaining film from Ingmar Bergman.

Ingmar Bergman Films: (Crisis) - (It Rains on Our Love) - (A Ship to India) - (Music in Darkness) - (Port of Call) - (Prison) - (Thirst (1949 film)) - (To Joy) - (This Can’t Be Happen Here) - (Summer Interlude) - Secrets of Women - Summer with Monika - Sawdust and Tinsel - A Lesson in Love - Dreams (1955 film) - The Seventh Seal - (Mr. Sleeman is Coming) - Wild Strawberries - (The Venetian) - (Brink of Life) - (Rabies) - The Magician - The Virgin Spring - The Devil’s Eye - Through a Glass Darkly - Winter Light - The Silence - All These Women - Persona - (Stimulantia-Daniel) - Hour of the Wolf - (Shame (1968)) - (The Rite) - The Passion of Anna - (The Touch) - Cries & Whispers - Scenes from a Marriage - (The Magic Flute) - (Face to Face) - (The Serpent’s Egg) - Autumn Sonata - From the Life of the Marionettes - Fanny & Alexander - (After the Rehearsal) - (The Blessed Ones) - (In the Presence of a Clown) - (The Image Makers) - Saraband

© thevoid99 2012