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7,4/10
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Ajouter une intrigue dans votre langueThe story of the prince Tamino and his zestful sidekick Papageno, who are sent on a mission to save a beautiful princess from the clutches of evil.The story of the prince Tamino and his zestful sidekick Papageno, who are sent on a mission to save a beautiful princess from the clutches of evil.The story of the prince Tamino and his zestful sidekick Papageno, who are sent on a mission to save a beautiful princess from the clutches of evil.
- Réalisation
- Scénario
- Casting principal
- Nommé pour 1 Oscar
- 3 victoires et 4 nominations au total
Hans Dornbusch
- Vakt i Prövningens Hus
- (as Hans Johansson)
Avis à la une
10Tom-267
An excellent movie, one of my all-time favorites. I watch it more often than I listen to "Die Zauberflote" on CD.
Bergman changes the story slightly and shuffles some of the musical pieces around, but the result makes better sense than the original. Pamina's struggle is presented as a custody battle between Mother and Father. The depression of wintertime in the far north is brought out clearly in the attempted-suicide scene. And all the knicknacks and props lying around...are pure Sweden! I didn't realize that until I visited Gothenburg last fall.
Bergman's comical, warm and cozy images really fit the music. Not that "The Magic Flute" from Mozart needs much improving...after all, 9 out of 10 German composers agree that it is the "perfect" German Opera. But Bergman's images go with it so well I consider it the perfect staging of the opera.
Bergman changes the story slightly and shuffles some of the musical pieces around, but the result makes better sense than the original. Pamina's struggle is presented as a custody battle between Mother and Father. The depression of wintertime in the far north is brought out clearly in the attempted-suicide scene. And all the knicknacks and props lying around...are pure Sweden! I didn't realize that until I visited Gothenburg last fall.
Bergman's comical, warm and cozy images really fit the music. Not that "The Magic Flute" from Mozart needs much improving...after all, 9 out of 10 German composers agree that it is the "perfect" German Opera. But Bergman's images go with it so well I consider it the perfect staging of the opera.
10bill-160
Clear sound production allows the impressive quality of all the principals' voices to come across gloriously. The heroic and adoring character of Tamino and Pamina are presented with notable conviction. The comic couple, Papageno and Papagena, are completely delightful to watch and listen to. Sarastro's role is acted with admirable reserve and sung with both authoritativeness and finesse. Altogether, this movie displays a craftsmanship wonderful to behold.
Some opera-buff acquaintances of mine have called Ingmar Bergman's movie of "The Magic Flute" the only good opera film ever made. While I don't know enough about opera to be able to accurately judge that, this movie is certainly a delightful experience. Sung in Swedish by a cast of photogenic Scandinavians, the film both looks and sounds wonderful.
With its fairy-tale plot and passages of spoken dialogue in addition to singing, "The Magic Flute" is already a very accessible opera. Bergman accentuates this by taking an unpretentious "Opera for Everyone" approach, exemplified by his close-up shots of audience members' faces as the overture plays. His production mostly has an 18th-century rococo/ Neoclassical look, though there are a few jarringly modern touches, such as writhing dancers in the last scene. Other than that, this seems a pretty faithful (if shortened) version of the opera that captures its comedy as well as its serious themes.
Mozart's music is both gorgeous and character-appropriate: lyrical arias for aristocratic lovers Tamino and Pamina, powerful coloratura for the vengeful Queen of the Night, folksy melodies for the bird-catcher Papageno. Papageno, a lovable Everyman type, is probably my favorite character in the opera, and Hakan Hagegard does the role justice. Ingmar Bergman's movies are known for their focus on human psychology, and even though "The Magic Flute" is a fantasy, the cast members make their actions believable. They do not just stand and sing like divas; they become tangible human beings.
This collaboration across the centuries between two great artists, Mozart and Bergman, yielded a lovely result. Highly recommended for novice opera-watchers and serious opera buffs alike--though I'm sure many opera fans have already seen this treat of a movie.
With its fairy-tale plot and passages of spoken dialogue in addition to singing, "The Magic Flute" is already a very accessible opera. Bergman accentuates this by taking an unpretentious "Opera for Everyone" approach, exemplified by his close-up shots of audience members' faces as the overture plays. His production mostly has an 18th-century rococo/ Neoclassical look, though there are a few jarringly modern touches, such as writhing dancers in the last scene. Other than that, this seems a pretty faithful (if shortened) version of the opera that captures its comedy as well as its serious themes.
Mozart's music is both gorgeous and character-appropriate: lyrical arias for aristocratic lovers Tamino and Pamina, powerful coloratura for the vengeful Queen of the Night, folksy melodies for the bird-catcher Papageno. Papageno, a lovable Everyman type, is probably my favorite character in the opera, and Hakan Hagegard does the role justice. Ingmar Bergman's movies are known for their focus on human psychology, and even though "The Magic Flute" is a fantasy, the cast members make their actions believable. They do not just stand and sing like divas; they become tangible human beings.
This collaboration across the centuries between two great artists, Mozart and Bergman, yielded a lovely result. Highly recommended for novice opera-watchers and serious opera buffs alike--though I'm sure many opera fans have already seen this treat of a movie.
I first saw this movie when I was in my teens, and it was the first opera experience I truly loved. Since I now work in opera, that was ultimately a very important event in my life! Bergman manages to achieve the impossible--a perfect synthesis of drama and music, the visual and the aural. (Years ago someone told me he thought that opera--the art that combines drama with music--ended up by denigrating both forms, and I don't completely disagree with that.) But in this almost magical movie, all of the flaws inherent in the piece (and there are many--poor dramatic structure, confusing story line, nonsensical plot elements) are ironed out, or somehow don't matter. Visually, it's sumptuous, thanks to Sven Nykvist's usual gorgeous cinematography, and aurally it's quite pleasing, despite some pretty mediocre singing--but thanks to Bergman's genius, that doesn't matter, either. Because of his careful work with the singing actors, every intention and dramatic impulse is realized, all motivations are clear--something you never see on an opera stage. Of course, much of it is impossible on an opera stage.....Bergman can use close-ups where opera can't. And a little ways into the opera, one realizes that gradually, imperceptibly, the stage has "opened out", and we're on sets and in places that would never be possible in a theater. He makes it all work, seamlessly.
In a way, the beautiful 18th-century Drottningholm Court Theater is a secondary star--one can't imagine a more perfect place for this opera to be performed. But the real star (among the singer/actors, at least) is Håkan Hagegård. There is no more beautiful and charming (both physically and vocally) Papageno imaginable--he became an international opera star a few years later. He more than compensates for all the other weak vocal links in the cast.
You'll never see a better "Magic Flute" than this.
In a way, the beautiful 18th-century Drottningholm Court Theater is a secondary star--one can't imagine a more perfect place for this opera to be performed. But the real star (among the singer/actors, at least) is Håkan Hagegård. There is no more beautiful and charming (both physically and vocally) Papageno imaginable--he became an international opera star a few years later. He more than compensates for all the other weak vocal links in the cast.
You'll never see a better "Magic Flute" than this.
The Queen of the Night (Birgit Nordin) offers his daughter Pamina (Irma Urrila) to Tamino (Josef Köstlinger), but he has to bring her back from her father and priest Sarastro (Ulrik Cold). She gives a magic flute to Tamino and magic bells to the bird hunter Papageno (Håkan Hagegård), who follows Tamino and wants to find a wife. The duo travels in a journey of love and knowledge.
Ingmar Bergman's adaptation of the last opera of Mozart to the cinema is a homage of the master to the opera and theater. Sang in Swedish and divided in three parts, Bergman shows faces of the audience in the overture (I particularly did not like this part); the first act; the intermission, showing the backstage; and the second and last act. The cast in general is very beautiful, highlighting the singer Irma Urrila. My vote is seven.
Title (Brazil): "A Flauta Mágica" ("The Magic Flute")
Ingmar Bergman's adaptation of the last opera of Mozart to the cinema is a homage of the master to the opera and theater. Sang in Swedish and divided in three parts, Bergman shows faces of the audience in the overture (I particularly did not like this part); the first act; the intermission, showing the backstage; and the second and last act. The cast in general is very beautiful, highlighting the singer Irma Urrila. My vote is seven.
Title (Brazil): "A Flauta Mágica" ("The Magic Flute")
Le saviez-vous
- AnecdotesOne of the people shown repeatedly during the overture is Alootook Ipellie, one of Canada's best-known Inuit artists and poets. Ipellie was attending a meeting of the International Inuit Circumpolar Conference in Stockholm during the production and was picked off the street because of his unusual features.
- Citations
Tamino, Papageno, Första damen, Andra damen, Tredje damen: [singing] Oh that the lips of every liar, Could thus be sealed and locked for good, Instead of malice, hate, and ire, We would have love and brotherhood
- Crédits fousThere are no onscreen credits in this film other than the title.
- Versions alternativesDigitally restored in 2017.
- ConnexionsFeatured in Bergman och filmen, Bergman och teatern, Bergman och Fårö (2004)
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- How long is The Magic Flute?Alimenté par Alexa
Détails
- Date de sortie
- Pays d’origine
- Site officiel
- Langue
- Aussi connu sous le nom de
- The Magic Flute
- Lieux de tournage
- Société de production
- Voir plus de crédits d'entreprise sur IMDbPro
Box-office
- Budget
- 650 000 $US (estimé)
- Montant brut mondial
- 13 899 $US
- Durée2 heures 15 minutes
- Mixage
- Rapport de forme
- 1.37 : 1
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