El huevo de la serpiente

Does Liv Ullmann ever do less than brilliant, does Ingmar Bergman never surprise?

Depression hit post Great War Germany, the moods, the sets, the atmospheres almost have you reaching for a bottle of whatever takes your troubles away from the very off, but also wondering how David Carradine might improve, or at least maintain the high level the director's portfolio had achieved to date (albeit acknowledging the Elliot Gould effect of The Touch). The answer is he doesn't and, while he does scrape through until the end, you're left reflecting on the fantastic selection of actors from Sweden the maestro deployed to such ground breaking effect through his lifetime behind the lens.

An intriguing story that gathers pace towards the end.

One can look at Ingmar Bergman's the Serpent's Egg as being many things, but it should not be looked at through the same prism that one looks at say Through a Glass Darkly or Scenes from a Marriage. This is Bergman being 'cinematic', and for the lone moment of a career spent with low-budget film-making and theater as his passions, a big-budget, a Hollywood star, and a sprawling canvas to work on, was at his finger-tips. It's also one of his few shots at not only an 'homage' kind of movie, but also one in English (one of only two). So it's the dark horse (no pun intended) when compared to the more one-on-one based films. This time the star, David Carradine, is not only an acrobat, but also in a city where the environment is grim, to the point of a scarcity of hope amid the post WW1 German cityscape. It's not the kind of film, in other words, that'll make money in the mass US market coming off the high of Star Wars (though it's been said that this film did make back it's money in Europe and then some). It's the kind of uncompromising vision that goes for broke, and it's a fascinating journey.

Carradine, who is at his best with a certain style and down-played quality that keeps him still cool today, is an American in Berlin, where his brother's just died in a rather grotesque fashion. This puts a certain immediate marker of doom over him and his sister in law, played by Liv Ullman (if, for no other reason to see the film, it's for her work, as usual). Over the span of a week (surprisingly so, if not for the voice over one might feel it being longer), amid the rain and nights and drunken stumbles and over-heated moments, Abel Rosenberg tries to deal with all that's going on. But there are stranger things lurking ahead with his upcoming job. This story is dealt with by Bergman in a curious way- it SEEMS a little longer at times, but it doesn't lose a certain momentum, of stripping away its character's defenses bare. Even Carradine, an actor who's mostly had a career as a larger-than-life kind of persona, gets intense with his work here.

Where Bergman gets entangled in everything he's got going on is a sense of structure to it. It's not the kind of 'soul-searching, hell if I know if God can help' film, but one more connected to the perverse, lurid qualities of the control some people could have over these people at this point of time in the world. One could say it's connected stylistically with the films of Murnau and Lang, however I would argue that more than half the time I did still feel like I was seeing a Bergman film, with his part n parcel cinematographer Sven Nykvist expressing greatly what is there in the huge set constructed of 1922 Berlin. And because of this, there's still the close-ups, and the surreality that's induced. But because there's so much to work with, with sometimes overwhelming scenes (like when Carradine walks into that bar, loaded with people, compact and tight, or whenever there's a chase or 'danger' kind of moment for Rosenberg, or just having to deal with large crowds or difficult lighting set-ups), the narrative thread gets tangled up. The opening shot of the people walking in slow-motion is brilliant, yet I didn't feel that same brilliance in the film.

Several directors hit this kind of moment in careers, where a larger-than-usual concept is provided by the appropriate budget. That it's in English is unusual, and though Bergman is functional in the language, one can tell there's not the same fluidity in the writing at times. However I don't discredit the Serpent's Egg as this horrible quagmire of a picture, as I was almost led on to believe. It still contains some extraordinary stuff, like the Cabaret scenes, as weird and compelling as some of the stuff in the Silence. Or the terror instilled when Heinz Bennent's character shows Rosenberg the 'footage' towards the end of the film. But it's also one of the more difficult films of Bergman's I've seen, that moves at a pace that's post-modern, and not too steeped in the 20's (that is one of its strong points at times in theme), while resisting going for the easy, Hollywood big-budget kind of movie-making. 7.5/10

While not a masterpiece, this is also far from the mess most critics took it for. An intelligent failure (or modest success) Bergman looks at Germany in the 20s as laying the groundwork for Hitler and the Nazis.

Liv Ullman is terrific, as always. And if David Carradine is only good, not great, he certainly didn't deserve the critical attacks he received. The nature of his character is a man so locked in passivity as to be enigmatic. You might not like that kind of character, but it's certainly not the actor's fault for carrying it out well!

Yes, some of it is slow, and some a bit obvious, but those charges could also be leveled against some Bergman films labeled masterpieces. As a cautionary tale of where we were once before, and could end up again, I've certainly seen far worse. It has some truly chilling moments. And I think seeing it again may reveal even more

A film even most Bergman enthusiasts dislike. However, as weak as it is, I have to admit I found a lot to like about it. First, the bad: David Carradine is pretty awful. He's had an uneven career, giving several very good performances and many bad ones. In the interviews included on the MGM DVD, it seems clear that he was out of his element working with Bergman (the featurette, incidentally, is a must-see; it's hilariously awkward, especially with Carradine's positive take on the film and his own work in it and how it contradicts what Liv Ullmann has to say). Secondly, this was the biggest budget Bergman ever worked with (Dino de Laurentiis produced it when Bergman was hiding from Swedish authorities in Munich), and it feels like a lot of his attention to the emotions of the film, and possibly also David Carradine, was diverted to the handling of the massive amounts of extras and the massive sets of 1920s Germany. Third, the script takes too long to develop. The first half of the film can be excruciatingly slow, and most of the good material comes in near the end. I fear that, for most, it'll be a matter of too little, too late. The good: well, to counteract Carradine's crusty performance, we have the fantastic Liv Ullmann. True, she's a little hard to understand through her accent (I should have probably also noted in the "bad" section the sound, which I think was just badly done; I watched the film with subtitles, but then, hey, it's a Bergman film, so no big deal, right?), but she's as expressive as always. She brings out a lot of emotion, and does it subtly. The setting, Depression-era Germany, is vividly recreated. The Bergman film The Serpent's Egg reminds me most of is Hour of the Wolf, in that it is a horror film. The setting is truly horrifying. The film builds to a surreal, dreamlike climax with Carradine winding his way through a labyrinth. These scenes are impressively done, as are several others. I love the one-shot scene where Carradine wanders into a crowded dance club looking for booze. There really is a lot to like, even though, overall, it's pretty hard to enjoy. Honestly, I think it's well worth seeing.

The Serpent's Egg is almost universally panned because it bears the signature of Ingmar Bergman, yet it doesn't feel much like a Bergman movie - except in a couple of flashes.

Most of the movie is set in dark, humid and chilly inter-war Berlin, where the protagonist gets ever closer to a sinister revelation. This side of the movie feels a bit like another bleak 70s artifact, Soylent Green. When David Carradine gets - at last - hired as an archivist in a sinister clinic, the viewer's interest is piqued.

However, Carradine is saddled with a sister-in-law, Liv Ullman, who comes along with a different set of scenes, that recall Cabaret without the acrid verve of the original. Liv Ullman tries hard, but she is truly miscast. Jane Birkin would have been perfect in this role.

The dialog is poorly written and gives the movie the choppy quality that everyone has objected to. The lines sound translated, unnatural, and David Carradine can't be faulted for sounding lost.

The big budget is well spent, and the film is not boring, nor pretentious. Some effects are in poor taste (the opening credits, and an excruciating scene in a brothel).

I suspect that The Serpent's Egg would have a better reputation today if it had been signed by a lesser director, say, George Pan Cosmatos. Without changing a single shot, it would be remembered as an interesting attempt at something different.