La Source

A powerhouse piece of filmmaking from one of the all-time great directors. This 14th-century exploration of good and evil, morality and chaos, love and revenge is pretty much a faultless viewing experience and one which retains its ability to shock and provoke thought in the viewer even today. I can only imagine what it would have been like to see this on first release.

The story is deceptively simple and yet filled with harrowing imagery. The assault in the woods is difficult to watch, even in these jaded times, and of course Bergman wrings the maximum tension out of it right from the very beginning. The second half is, perhaps, even more tense, with the expectation of impending violence and the strong, subtle filmmaking techniques (think: lots of lurking shadow, religious iconography, haunted faces). The excellent use of black and white photography reminded me of Kurosawa's work on RASHOMON. Max von Sydow holds it all together as the brusque father and family man, but he heads a cast who can do no wrong.

Wes Craven went for a lurid, contemporary remake in LAST HOUSE ON THE LEFT, but despite the graphic nature of Craven's film I don't think it holds a candle to this one.

... and that's about all I can SAY about it. I saw this film four, maybe five years ago. And to this day, I feel a blow to my gut whenever I remember it. To this day, it haunts me - especially (and not surprisingly) the figure of the little boy.

This is a raw, uncompromising, unbiased parable on love and revenge; on humanity. It is set in 14th century Sweden - but its "message" is timeless: as timeless as love and vengefulness themselves. As timeless as humanity itself. Because the mores may change, but today, as 800 years ago, people are still helpless in their (perhaps inevitable) core existential ignorance, still subject to the immense pain of losing a loved one, of the inexplicable torments that often befall just and righteous, "good" people.

And that is what makes this a brutal, heartrending, unforgettable film.

Sometimes Bergman's films, though full-fledged masterpieces (I AM NOT DISCREDITING HIM), are visual expressions seen with the screen as a wall between the viewer and the characters. I think that wall was taken down with "The Virgin Spring". Here he tells an emotionally intense story at the perfect pace with perfect pitch. No matter how horrific the occurrences on the screen, this film has been created with such an aesthetically appealing touch that the dichotomies and balance Bergman works towards is evident. Terrific!

Virgin Spring, The (1960)

**** (out of 4)

Ingmar Bergman's classic (and influential) film about three brothers, two of whom rape and kill a young girl only to end up at the girl's house later that night where her father (Max von Sydow) seeks vengeance. This was my second viewing of this film and it was certainly better this second time even though I loved it on the first viewing. As I said last year, Wes Craven's The Last House on the Left and the Italian shocker House on the Edge of the Park ripped this film off quite heavily and went over the top with graphic violence, gore, nudity and everything else imaginable yet these cheap shock thrills can't hold a candle to this film. This is masterfully directed and contains so much power that very few directors could have pulled it off. The eerie and haunting rape scene is very casual yet contains extreme power. The revenge sequence as well as the conclusion are also very subtle but pack a wonderful punch. I think it was a great choice for these scenes to play out without the use of a music score. This really helps the bitterness and creepiness of the film. A perfect atmosphere and brilliant performances really push this film over the top. von Sydow doesn't say much here but his acting with his eyes and body jesters are priceless.

A landmark film from master filmmaker Ingmar Bergman that still remains potent today, "The Virgin Spring" understandably won the Best Foreign Film Oscar for its year. Haunting and unforgettable, it's pull of literate dialogue, attempting to ask some hard questions when it comes to good and evil, and faith and religion. Even at the end, the film does make clear the message that even with vengeance comes a price to pay.

The luminous Birgitta Pettersson plays Karin, the lovely & virginal daughter of a farming couple (Max von Sydow, Birgitta Valberg). The striking Gunnel Lindblom plays Ingeri, the pregnant wild child whom they've taken in. One day, the two girls set off to transport some candles to church, and the nearest church is a LONG ways away. During the journey, Birgitta makes the acquaintance of two travelling herdsmen (Axel Duberg, Tor Isedal) and their much younger "brother" (Ove Porath). The two young men rape and murder poor Karin, and as luck would have it, they find shelter and food at the nearest abode: the von Sydow and Valberg household. Once the two parents put two and two together, they're ripe for revenge.

Shot in gorgeous black & white by the great Sven Nykvist, "The Virgin Spring" will attract curious viewers if they are like this viewer and are horror fans who have already seen the crude and crass Wes Craven reimagining, "The Last House on the Left". Inevitably, comparisons will be made; while each version is quite memorable in their own way, this film retains the power to shock and depress despite cinema becoming progressively more graphic as the years have gone by.

The performances are excellent. Pettersson is such an appealing presence that it's gut-wrenching what happens to her. Von Sydow is his usual tower of strength as the father who learns that vengeance is not all it's cracked up to be. Duberg and Isedal may not quite make one want to take a bath afterwards the way that Krug and company did in Cravens' film, but they're still sufficiently creepy.

Vivid and credible, this does leave its viewers with some things to think about afterwards, and offers no easy answers.

Inspired by a 13th century Swedish ballad, and scripted by Ulla Isaksson.

Eight out of 10.