Der Ritus

An intriguing sexually explicit and frank film about a number of different things, ranging from anti-censorship sentiments to neuroses, it is well directed by Ingmar Bergman, shot from interesting angles and making good use of close-ups, but still it is far off the level of Bergman's best work. The ideas are a bit all over the place and the film is too talkative for it to have much chance of establishing atmosphere. The events of the final ten or so minutes are contrived too, particularly concerning the main character. Either way, it makes an interesting enough watch, and if not for its cinematic virtues, at least for giving an idea of the very adult stuff allowed on Swedish television in 1969! Worthwhile for Bergman fans; others might want to try out a few of his other films before giving this a go.

Seven stars. This isn't essential Bergman by any means. But it's well worth watching for Bergman fans. The tiny cast (four speaking parts, with Bergman himself as a silent priest) and the staging show Bergman's connection to the theatre. But the way it's shot is pure art-house. Nothing but near shots and extreme close-ups. And all that intricate framing! Things like the shots of both Thulin and Bjornstrand (two Bergman regulars, going back to the early 50s, in absolutely knock-out performances) with Erik Hell's arms around them, coming down from above. Or the framing of the actors against the carefully chosen backgrounds in the backstage scene. Any one who comes into this thinking it's going to be a standard narrative film will be utterly lost by scene 2. It's a cinematic fable. Complete with a "moral" at the end. Bergman made this in 1969 (for TV! Think about that, given the costuming in the last scene), in the middle of a period when he was making genre pictures, and clearly wasn't sure of what he was up to. After the monumental (if flawed) Persona, he stumbled for about six years before he roared back with Cries and Whispers. This film fits squarely in with The Hour of the Wolf (gothic horror), Shame (Bergman does a war film) and The Passion of Anna (an experimental film about disintegrating relationships), as movies that strike me as experiments for Bergman to work out what he wants to do. So let's strip things down to the barest minimum -- four actors, no sets to speak of, no story in any obvious sense. Instead we get this Kafka-like situation, in which a group of artists are being questioned by an official about something in their show. No one ever talks about it directly. In fact, no one ever talks about ANYTHING directly. Even Abrahamson's confession just beats around the bush. And then we get that last scene. . . . 24 May 2024.

Imagine that, in 1969, on BBC2, say, an experimental 'Play for Today' was featured, involving various acts of a drama that revolved around three very different actors who are interviewed very rigorously by a 'judge'.

There are various accusations highlighted and all become, or are, squirmingly intrusive, with many very personal subjects being quite explicitly examined. Add a documentary feeling use of static interview room/single set location and with uncomfortably close close-ups, in a rather unflattering greyish sort of black and white.

Considering these 'crimes' border on the uglier emotions and typically Bergman, the dialogue crackles with poetic starkness and honesty, then the Mary Whitehouse brigade of the day would have had a field day. My reference to this, is because The Rite was a drama made for Swedish TV, directed by Bergman and featuring some typically gritty and honest acting. I bet that the TV audience there would have been receptive and revelled in its clever psychotherapy and fascinating insight into human persona. Us Brits would only have seen the 'grubby' bits and blown them out of all proportion.

Whilst this 72minute drama looks odd and dated now - and the few other reviews around almost dismiss this work accordingly, it now comes out as a fascinating but intense montage of human condition and behaviour.

... when all the world's a stage, performances established by surroundings in a cage, whose screens and makeup mask the cells of who we really are, unless threatened by authority and we leave the door ajar.

Make of it what you will, especially the end, somethings you might distil, before it takes you round a bend.

Coming in at 72 minutes, and with notable Bergman stalwarts Gunnar Bjornstrand, Anders Ek, and Ingrid Thulin, this made for TV conjuring will leave you scratching your chin and raising your eyebrows as bizarre events unfold and you wonder what on earth is going on. Suffice to say the imagination from the master director will once again have you as confused as ever, but the acting is outstanding.

I'm one of those: Ingmar Bergman is a true artist, a great filmmaker who's connection with the brightness and deepest darkness of human nature, of faults with religion, with close relationships, horrors of the mind, dreams, was so strong that it's hard to believe that he made so much and didn't succumb sooner to his most dogged troubles- death. In the case of the Rite, it's basically an experiment. He has ten scenes, four actors (not counting himself in an uproarious cameo appearance/in-joke on the Seventh Seal as a priest), and a lot of sado-masochistic psychology to work with. There aren't quite as many monologues as in Persona, and not the same depth of a relationship ala Scenes From a Marriage. But for the most part, the Rite works well as another exploration of Bergman's into the frayed mindset of actors, the discombobulated circumstances they get themselves into personally that mucks them up in the real world. Only the theater is their strange refuge, might be the message here, if there is one.

One thing's for certain, among the many performances that Bergman stock-company members Bjornstrand and Thullin have given in past films (Winter Light maybe their best pairing), the Rite provides them some of their best work. It might be almost too easy considering the material- a married couple that is completely miserable, full of the kind of bile that is found in the worst boils- and brought to a more succinct point by the actor Anders Ek (who has also been in a couple other Bergman flicks, notably Seventh Seal as the Monk), who might be the most exhaustedly p-o'd actor one's ever seen. They're all on trial for some Kafkaesque reason by a judge (Erik Hell) who is making their nerves totally on edge with his insistence on all the 'facts' coming in. The scenes particularly with him and Thulin are explosive, and even shocking to a point, where as before there's been subtlety and insinuation.

As it stands, approximately 9/10ths of The Rite is close to vintage Bergman as one could hope for, coming out of a period in the 60s where he plunged into a deconstructionist approach that found him working at full-steam (Persona, Shame, and Hour of the Wolf are some of the most daring 'art-house' films ever conceived and executed), and considering this as just an exercise is nothing to sneeze at...That being said, there is that final scene in the office I can't get out of my head, and unlike other times with Bergman I'm not sure it's such a good thing. It's a turning-the-tables scene where the actors come in costumes and masks ala Eyes Wide Shut and freak the f*** out of the judge, and Hell (no pun intended) goes into a rant about how wrong he was and how he sees that he's just a lawyer who didn't want to do this and that and so on. And it just doesn't feel the same as the rest of the material in the film, an 'off' quality, despite (or in spite) of the fact that on its own it's a truly outrageous thing to see: the costumes are sado-masochism incarnate, with a certain appendage that is ridiculous, and a bowl of wine that is obvious symbolically.

Maybe someday if I re-watch the Rite I'll come to admire or find something else about the scene that works better, but for now it's the only thing that is really a bugger about what is otherwise an exemplary work of cinematic theater. If you can find it somewhere in your local video store (emphasis on 'video', it's not available on DVD), and are already head-deep in the master of Scandinavian motion pictures, it's worth it.