Le visage

Everybody wants to believe, born into a world that constantly deceives, that magic is real, as we make a deal, with an agent that death's door conceals - or at least that was the case in ages past when such beliefs were seared into you from birth.

Don't be fooled by what you see, the customs, costumes distract thee, a grand façade to suck you in, from birth, controlled, conditioning.

The illusions that confuse and abuse perfectly encapsulated in a magical and mesmerising piece of cinema that merits repeated reviewing, and why wouldn't you with several Bergman stalwarts performing to their absolute best, and some.

An appropriately mysterious Gothic tale with fascinating characters, who may or may not actually possess certain powers, the material is envisioned well by Ingmar Bergman, with careful attention to lighting design, and the acting is superb. Max Von Sydow is given the most intriguing part to play, and he pulls it off well, but Ingrid Thulin and Naima Wifstrand both deserve mentions for breathing life into their fey characters too. The film is about illusions ultimately, and those who are too critical to suspend their disbelief. It is a bit hard though interpreting exactly what Bergman intended by some of the oddities that he has placed in, such as dispersing poison to a young man. Are these attempts to add humour to the tale? Even with these odd inclusions and rushed ending that is a let down, it is quite a satisfying film overall. The music is great, the acting is excellent, and the interesting characters help make this film one of Bergman's most intriguing pieces.

Many people may have missed the satisfaction of reading the extra layer of meaning in this film: that the "magician" is the the filmmaker or visa versa, in this case Bergman himself. Without giving anything of the plot away, I can say that The Magician is a reflection on Bergamn's role as a creator of illusions. He uses the story of a roving theatrical troupe with an magician to illuminate the metaphor. The apparently abrupt turn of events at the end is Bergman's signal that he is the master of your perceptions in this medium, that he compares to the experience of dreaming.

It is interesting to compare this film with Fellini's 8 1/2, another filmmaker's reflection on the process and meaning of film-making. Two very different sensibilities are at work in these two films, but with surprisingly close parallels in their endings, and involuted plots.

I found this film highly satisfying on many levels, even taken at its apparent face value, as a romp. Seen a second time the illusionist begins to emerge more clearly, from the moment the film opens, with the lighting of the arc lamp of a film projector.

THE MAGICIAN is a very good fantasy drama with elements of comedy. A human drama about fates, masks and magic. One traveling magician, together with his companions, comes to a big city. Upon arrival in the city, he becomes the object of ridicule and accusations. The city authorities are trying to expose his tricks. Their efforts end in a farcical climax through love, sexuality, psychology and supernatural phenomena...

Mr. Bergman has again managed to re-examine the important questions of life in an imaginary world. The phenomena that we do not understand are sometimes exciting. Mr. Bergman has tried to play with the human mind through human needs and instincts under the strong influence of illusions and transience of life. Emotions and excitement are colliding with tradition and intellect. The director has made a very pleasant deception. Mystery was complemented with games of shadows, mirrors and lightning. Brilliant sound occasionally breaks anxious silence.

The dialogues are thoughtful and very provocative. Characterization is, as usual, excellent.

Max von Sydow as Albert Emanuel Vogler is a magician, entertainer, a doctor, a charlatan and a crook at the same time. His character was captured by the irony of life and spiritual poverty. This can be read on the actor's face.

Ingrid Thulin as Manda Vogler (alias Mr. Aman) is a beautiful and faithful wife of magician. Gunnar Björnstrand as Dr. Vergerus is a very provocative as a skeptical doctor. Åke Fridell as Tubal is a crook with a smile on his face. Bibi Andersson as Sara is a falsely naive girl, who fell in love with one coachman. Naima Wifstrand as Granny Vogler is a wise old witch, who sings a lovely lullaby for good night and sells rat poison at the same time.

This is a good combination between the gruesome melodrama and lustful comedy that ends with a general farce.

Vogler's Magnetic Health Theater rolls into town and is promptly summoned for a meet with the town big wigs. Hoping to expose all involved in the theatre as charlatans, the disbelievers request a personal show before allowing the show to go public. With very interesting results.

There is a belief amongst many Ingmar Begman fans that Ansiktet (The Magician) is far too accessible a piece to be considered one of his greatest pieces. And whilst it does find Bergman more easy to understand for the casual viewer, it's however still complex enough to thrill and niggle the mind in equal measure. Taking two factors that he very much adored, masks and magic, Bergman threads them off into various directions, and in the process testing us the audience as to just what to expect from the story. The mysterious wonder of it all is naturally aided by Bergman's use of light and shadowy trickery, symbols loom heavy without dampening the theme on offer, with nothing of course actually quite being as it seems.

As is normally the case under the master director, the cast are uniformally strong. With Gunnar Bjornstrand and Ingrid Thulin particularly standing out. But really this is all about tricks and ideas relating to magic and its blending in with reality. So much so that with the end comes an awakening that we the audience are indeed props in one of Bergman's shows, and that can never be a bad or even an accessible thing.

A fascinating picture from a very fascinating director. 8/10