Through a Glass Darkly (1961)

Karin is released from a mental hospital and meets with her brother, father, and husband (Max von Sydow) vacationing on an island. She still has mental issues and everyone has family issues. Roll credits.

A lot more is going on than what my synopsis implies, but this is a film that's very hard to, you know, synopsize. Through a Glass Darkly was shot on Faro island, later nicknamed Bergmen Island, where the director would later take up residence. Interestingly, only four actors ever appear on screen. Even when another character is implied, they are not even glimpsed. This is a four person film.

So, once again Ingmar Bergman tries to come to terms with faith and death, and again falls short of a conclusion. But that, I believe, was the intent. We deal with life’s unknowable mysteries, and life goes on, until it doesn't.

Writer Josh Olson recently mentioned on his podcast that, essentially, all of Bergman’s films are horror, and he has a point. Add a few traditional horror elements and tone down the subtly, and you are definitely in the ballpark. I can see how some people, in the right environment, could find parts quite creepy.

Through a Glass Darkly is a slow think piece that will leave many people wondering what, if anything, even happened. Bergman is not for everyone. One measure I've come to use to rate films is to consider how long it will stay with me. This film will stay with me a while. AMRU 4.

The Virgin Spring (1960)

A farming couple sends their young, spoiled daughter to church to deliver candles. Along for the ride is their pregnant and wayward servant girl. Things don’t go well.

Based on a Swedish folk ballad and inspired by Kurosawa’s Rashomon, director Ingmar Bergman was disappointed with the result. The Rashomon link is how everyone involved evaluates their role in the tragedy and how the events unfold. Yes, I’m being intentionally vague.

I find Bergman films more accessible than his reputation. The events here are pretty straight forward, simple really. The viewer is left to consider everyone’s response and maybe what the end means. Most synopses will detail more of the story but I’d rather not reveal too much. And I suppose I agree with Bergman to a point because I find it to be the least interesting of his films I’ve seen so far. But it is still an interesting and visually attractive film, and Birgitta Pettersson is adorable. I hope your day goes better. AMRU 3.5.

The Seventh Seal (1957)

Upon his return from the Crusades, Antonius Block (Max von Sydow) is greeted by Death. Unafraid to die, he challenges Death to a game of chess to give him time to find answers. The game is played over several days while Block questions his faith and meets up with other travelers on his way home. Plague has ravaged the countryside and Death’s influence is everywhere.

With someone with the art house/film school reputation of Bergman, I find it surprising how lighthearted much of his films are. Surely there are themes that warrant extended thought and discussion, but The Seventh Seal, like Wild Strawberries, is very watchable. His squire, the travelling performers, the unfaithful wife, the jealous husband, all serve both as comic relief and as foils to our dour Crusader. Block, unlike his companions, needs answers. Answers that even Death himself cannot give.

Also surprising is how low budget the film appears. The period costumes have the reductive appearance of quickly made cosplay garb and the sets were almost nonexistent. Still, this does not detract from the narrative. In fact it lends to the desolate feel of the film.

Younger viewers will remember von Sydow as the Three Eyed Raven and older viewers will remember him as the old priest in The Exorcist, but he appeared in a ton of stuff. Seriously, look him up. His CV is amazing.

At once haunting and comical, simple yet enigmatic, The Seventh Seal (a reference to the book of Revelations) almost demands a second watch and discussion with friends. Had I any that's exactly what I would do. AMRU 4.

The Exorcist (1973)

The sweet, innocent Regan (Linda Blair) starts exhibiting strange behavior, so mom (Ellen Burstyn) takes her to a doctor. They do invasive tests but can’t find anything wrong, so they give up and tell her to take her to a psychiatrist. Soon the psychiatrists give up and tell her to take her to an exorcist. After initially claiming that there is no such thing as exorcists, the priest gives in and performs the ritual. Things don’t go well.

Many films have apocryphal stories of extreme audience reactions. People diving out of the way of an oncoming train in The Great Train Robbery plus William Castle’s many legal waiver and fitness test gimmicks. On a similar note, people did not riot when they heard Wells’ radio performance of War of the Worlds. Here with The Exorcist, we have the real deal. Legit paramedics were occasionally called for hysterical viewers. Castle, I’m sure, was jealous. Before the disturbing horror scenes later in the film is a realistic angiograph scene which I am sure convinced many to not undergo the procedure.

The version I saw was titled “The Version You’ve Never Seen” so now that I’ve seen it, I don’t know what to think. This version includes an inverted crab walk scene that had been cut from the original. The Exorcist is a slow burn, even dragging a bit. But remember, before this film the general public did not know what an exorcism was. Nor did they know what they were about to experience, so we must forgive modern audiences with an “Get on with it, already!” attitude. Myself included. When we get to the Evil, The Exorcist does not disappoint.

Mom turns to Father Karras to exorcise her daughter. He cautions that this could make things worse, but there really isn’t anything worse. So Father Merrin (Max von Sydow) is called in to lead. The forty three year old von Sydow wore heavy old-age makeup to take on this role. He’s ninety now and still working. Some may remember him from The Force Awakens or as the Three-Eyed Raven back before the series tanked. Old friend Lee J. Cobb played a detective watching the action mostly from the outside.

The Exorcist is rightly an icon of horror. It's a well written, well acted, very original shocker. Production was very troubled. The shoot was a form of hell for the actors, but the result was unquestionable. Maybe they beat us over the head with the "Regan is sweet and innocent" message, but that's forgivable. Don't care why demon is doing this, that's ok. you aren't subjected to exposition. Do care? The hints are in there. AMRU 4.

"The Power of Christ Compels you!"

Wild Strawberries (1957)

An elderly doctor (Victor Sjostrom) travels to the town where his son lives to receive an honorarium. Along the way he passes places from his youth, and reevaluates his life now that it's near the end.

I was hesitant at first to watch this because, well, Ingmar Bergman. His reputation for confoundingly symbolic movies is legendary, but I found this very accessible. Old Doctor Borg's journey is both physical and spiritual as he explores his life and loneliness. His relationship with his son, mother, and daughter-in-law, his dead wife, his live in housekeeper, with society at large, as with life itself.

He has dreams that trouble him, as they did 1950's literalistic American audiences, no doubt. He sees and interacts with images of his past and maybe seeing the error of his ways. In this manner it feels like a version of A Christmas Carol, similar to The Phantom Carriage (directed by and staring a young Sjostrom). The people he crosses paths with provide a real world illustration of his past mistakes.

One cannot go into all of the meanings and metaphors of a Bergman film here (certainly not with a Philistine at the helm), but suffice it to say Wild Strawberries leaves you thinking. While also being very watchable. AMRU 4.

"As professor emeritus, you ought to know why it hurts. But you don't know. You know so much, and you don't know anything."