SHARE. In Sweden, in the Fourteenth Century, Karin is the favorite and virgin daughter of the religious Tre and Mreta. The two older men then prepare to leave the scene with Karin's clothing. Ingeri proceeds to wash herself with the water while Karin's mother cleans the dirt from her daughter's face. In 14th-century Sweden, an innocent yet pampered teenage girl and her family's pregnant and jealous servant set out from their farm to deliver candles to church, but only one returns from ev Read allIn 14th-century Sweden, an innocent yet pampered teenage girl and her family's pregnant and jealous servant set out from their farm to deliver candles to church, but only one returns from events that transpire in the woods along the way.In 14th-century Sweden, an innocent yet pampered teenage girl and her family's pregnant and jealous servant set out from their farm to deliver candles to church, but only one returns from events that transpire in the woods along the way. Von Sydow is Tre, a prosperous 14th century Christian farmer who sends his innocent virgin daughter Karin (Birgitta Pettersson) off to carry candles to church for matins. Horror 101: The Horror Movies Of 1960 Pushed Boundaries And Challenged Censors. He vows that, although he cannot understand why God would allow such a thing to happen, he will build a church at the site of his daughter's death. with updates on movies, TV shows, Rotten Tomatoes podcast and more. They have a pleasant picnic together, until the mood darkens, the two adult shepherds turn mean, and they rape her. Regal Bergman and cinematographer Sven Nykvist frame the manor head on, causing it to resemble a theater in which Ingeri puts on a daily performance. (1984). . Here, the director and actor return to the medieval, in a story of rape, revenge, and faith. Having eaten Karin's food in a forest glade, the herders'demeanor suddenly changes. Leaving winter behind and heading into spring makes everyone feel a bit more positive and we're positive you'll enjoy the heck out of these ace new series, returning favourites and feature films you can watch on Virgin TV now. and Exodus/Leviticus ("An eye for an eye"), Bergman examines human nature - the inclination to do evil, and the morality of vengeance - as well as the nature of God, and our relationship to Him. [34], The aggregation site They Shoot Pictures, Don't They has found it to be the 639th most acclaimed film ever made. Now, this was a true work of art. Along their way through the forest on horseback, Ingeri becomes frightened when they come to a stream-side mill and admonishes Karin, but Karin chooses to proceed on her own, leaving Ingeri at the mill. The revenge of her father is very impressive. Early in the ensuing decade, he would turn to psychological issues at the expense of ethical ones. Winner of the Academy Award for best foreign-language film, Ingmar Bergmans The Virgin Spring is a harrowing tale of faith, revenge, and savagery in medieval Sweden. Janus Films, Production Co: Mareta represents the goodness of the faithful, while Tore is God who smites evil. [2], Much of the religious themes centre on conflict between paganism and Christianity, recalling the misery Sweden experienced as the two religions struggled for predominance. The Virgin Spring (Jungfrukllan) is a 1960 Swedish film directed by Ingmar Bergman and starring Max von Sydow. Academy Award for Best Foreign Language Film, UsefulNotes/Academy Award for Best Foreign Language Film. [21], In the United States, The Virgin Spring opened in New York City on 14 November 1960, censored to remove shots taken of Karin's naked legs around the body of the rapist. The man tells Ingeri that he can see and hear things others can not. He would renounce the historical environment of The Seventh Seal, The Magician, and The Virgin Spring, and he would film his work in a harder, less . In 14th-century Sweden, an innocent yet pampered teenage girl and her family's pregnant and jealous servant set out from their farm to deliver candles to church, but only one returns from events that transpire in the woods along the way. As to whether religion casts a darkness of its own on man, the shadow of ignorance, or gives his life meaning and elevates him over nihilism and chaos, the reader will have to decide, but I believe Bergman is in the latter camp with this film. Shooting the film. Karin is the daughter of wealthy land-owning farmers. What more can I say? One of the rapists then bashes Karin in the head with a club, killing her. It won the Academy Award for Best Foreign Language Film. The acting was also excellent, from beginning to the end, there was not a single dull moment, everything was meaningful and the symbolism used was able to fully convey the ideas behind the film. Max von Sydow played Tre. We see evil coming as Bergman masterfully builds up tension, but are still shocked - both at the incredible cruelty of the men, but also at Bergman keeping the camera on them as they commit the act (especially for 1960). The Virgin Spring marked a crucial watershed in Bergman's attitudes toward life and the cinema. Director Ingmar Bergman Writer Ulla Isaksson Stars Max von Sydow Birgitta Valberg Gunnel Lindblom Ingmar Bergman, In The Virgin Spring, Bergman brings a narrower and more personal focus, not to mention a greater appreciation for humanity's darkness. Get the freshest reviews, news, and more delivered right to your inbox! Starring frequent Bergman collaborator and screen icon Max von Sydow, the film is both beautiful and cruel in its depiction of a world teetering between paganism and Christianity, and of one father's need to avenge the death of a child. I'm not sure whether Bergman was a full-blooded atheist or not at this point but I'd suspect he was at least a questioning agnostic. NR 1 hr 30 min Nov 20th, 2018 Drama. It is a masterpiece which would be later adapted into The Last House on the Left. Karin is accompanied by her pregnant foster sister, Ingeri (Gunnel Lindblom), who secretly worships the Norse deity Odin. Terms and Policies Swedish and German with English subtitles. Left without music, the two violent scenes are depicted in powerful, wordless sequences, that are tense in a way that later more explicit movies are not. On the day of Our Lady of Virgins, her father asks her to go to a distant church with her pregnant stepsister and carry some candle for Our Lady. It's the same with people. I love the camera-work and lighting used, the long shot of characters were able to reflect the emotions of each character while close ups brought the tension and suspense into full effect. Filmmakers like Bergman aren't didactic enough to tell us the answers to these questions; instead, we get round characters who struggle with ethical dilemmas in intelligent and compelling ways. is a harrowing tale of faith, revenge, and savagery in medieval Sweden. The Virgin Spring (1960) is Bergman's treatment of a medieval tale of rape and revenge; it is a film cut through with the kinds of iconography, symbolism, and layered social commentary that one . Ingeri, after having caught up to the group, witnesses the whole ordeal hidden from a distance. He stabs one of the older men to death with a butcher knife and throws the other into the fire. [27] In contrast, the Stockholms-Tidningen wrote Isaksson was better suited for print than film, where she was weak. With austere simplicity, the director tells the story of the rape and murder of the virgin Karin, and her father Tres ruthless pursuit of vengeance against the three killers. After they find Karin's body, a hysterical Ingeri cries that it is all her fault, for calling down Odin's wrath, as well as for standing frozen and watching while Karin is attacked. An exceptional and deeply-moving film. When the man makes sexual advances towards her and promises her power, Ingeri flees in terror. He knew he didn't have to show a lot of flesh to show how vile, disgusting, degrading, and animalistic a rape is, and it's a shame the film was banned in some places given the prevalence of rape in society. In Sweden during the Middle Ages, married couple Tre and Mreta are prosperous and devout farmers. The Virgin Spring (Swedish: Jungfrukllan) is a 1960 Swedish rape and revenge film directed by Ingmar Bergman. She confesses that she secretly wished for Karin's death out of jealousy. Bergman said that in filming the rape scene: The film premiered in Stockholm on 8 February 1960, where 15 audience members walked out during the screening, and several left weeping. A variety of themes explored in the film include Christianity, Paganism, Norse mythology, feelings of guilt, vengeance, the questioning of religious faith and sexual innocence. Read critic reviews. Karin's father - played by screen legend Max von Sydow - avenges her cruel death by killing her attackers during the night in his home. Max von Sydow plays the father who is a God-fearing believer, yet finds himself overcome by his own sweet desire for revenge against those who wronged his little girl. It is partly based on the Swedish medieval ballad ''Tre's daughters in Vnge''. In telling this story with elements of Job ("Why?") The film was shot at various locations in Dalarna, including Styggforsen and Skattungby. The movie contemplates larger issues, of course,. Starring Max von Sydow and photographed by the brilliant Sven Nykvist, the film is both beautiful and cruel in its depiction of a world teetering between paganism and Christianity. So this movie also touches a personal nerve within me. The theory that Bergman would appear to disregard the place of The Virgin Spring in his own filmography based on the dearth of comments on the film in his autobiographies is perpetuated multiple times throughout Criterion's DVD package. On their way through the woods, the girls encounter a group of savage goat herders who brutally rape and murder Karin as Ingeri remains hidden. (1972). . With austere simplicity, the director tells the story of the rape and murder of the virgin Karin, and her father Tres ruthless pursuit of vengeance against the three killers. Ingmar Bergman scholar Peter Cowie explores how the great actors authoritative screen presence allowed him to embody the directors fears and ideals. 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