La fontana della vergine

The picture is set in Sweden , during the Dark Ages , 14th-century . This the story about a young naive virgin named Karin (Petterson) who's sent by her parents (Max Von Sidow and Birgitta Valverg )towards a church to hand over candles for the holy Virgin . She's accompanied by Inger (Gunner Lindblon) , a pregnant and envious young . They meet a group of peasants and the young virgin is cruelly raped (whose images in some countries were rated ¨R¨). Later on , the killers ask for help and shelter from the parents .

The movie displays haunting and powerful scenes , it's plenty of images which stay forever in mind . Although it is sometimes slow moving ; however , the thoughtful screenplay is narrated with intelligence and sensitivity but here are developed ethic and moral issues just like death , God , religion and vengeance . The movie realizes an excellent reunion of Swedish actors with usual Bergman's players (Sidow and Lindblon , among others), showing the different characters and exploring their apprehensions , ambitions , fears and circumstances . Glimmer and riveting cinematography by Sven Nykvist (he won an Oscar for Fanny and Alexander) , he's deemed by many to be one of the world's greatest cameramen , he achieved give the movies on the most natural and simplest look imaginable , he replaced Gunner Fischer (The seventh seal) as Bergman's cinematographer . He continued an American career working for Louis Malle (Pretty baby) ,Bob Fosse (Star 80) ,Philipp Kauffman (The unbearable lightness of being) and Woody Allen (Another woman , Crimen and misdemeanors). ¨The Virgin spring¨ was wonderfully directed by Bergman , it's a real masterpiece who made his major impact gaining international acclaim and winning an Oscar to the best foreign film and a Gloden Globe . His realization was during his impressive golden period from 1957-1968 , when Bergman (recently deceased) made stunning masterpieces : The seventh seal , Persona , The communicants , The silence , Hour of Wolf . Rating : Magnificent , but it is considered by many (along with The seventh seal) to be the Bergman's best . And please to forget the horrible and ¨Sui generis¨ version made by Wes Craven titled ¨The last house on the left¨ .

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.

... (in 14th century Sweden) and were naïvely happy, beautiful and endearing and a little bit gay, the chances are you'll come a cropper, as rogues and fiends uncork your stopper (amongst other dastardly deeds).

A tragic tale unfolds over a day or so, with emotions bouncing off the thatch and hearts and minds broken and dispatched. Great film making accentuating sublime performances through a story of despair and disillusion.

Max von Sydow is, once again, out of this world and Gunnel Lindblom's pretty impressive too, in a tale not written by the director but transpires to be one of his absolute best.

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.