O Rito

An intriguing sexually explicit and frank film about a number of different things, ranging from anti-censorship sentiments to neuroses, it is well directed by Ingmar Bergman, shot from interesting angles and making good use of close-ups, but still it is far off the level of Bergman's best work. The ideas are a bit all over the place and the film is too talkative for it to have much chance of establishing atmosphere. The events of the final ten or so minutes are contrived too, particularly concerning the main character. Either way, it makes an interesting enough watch, and if not for its cinematic virtues, at least for giving an idea of the very adult stuff allowed on Swedish television in 1969! Worthwhile for Bergman fans; others might want to try out a few of his other films before giving this a go.

... when all the world's a stage, performances established by surroundings in a cage, whose screens and makeup mask the cells of who we really are, unless threatened by authority and we leave the door ajar.

Make of it what you will, especially the end, somethings you might distil, before it takes you round a bend.

Coming in at 72 minutes, and with notable Bergman stalwarts Gunnar Bjornstrand, Anders Ek, and Ingrid Thulin, this made for TV conjuring will leave you scratching your chin and raising your eyebrows as bizarre events unfold and you wonder what on earth is going on. Suffice to say the imagination from the master director will once again have you as confused as ever, but the acting is outstanding.

While on tour in a European country, the actors Hans Winkelmann (Gunnar Björnstrand), his wife Thea Winkelmann (Ingrid Thulin) and his best friend Sebastian Fisher (Anders Ek) are charged of obscenities and sent to court. While interviewing the trio individually in his office, Judge Dr. Abrahamson (Erik Hell) challenges and discloses the feelings and troubles of the unstable personality of each one of them: Sebastian is an aggressive man with drinking problem and lover of Thea; Hans is a controlled wealthy man and leader of the company; and Thea is a fragile and vulnerable woman with mental disturbance. The judge pushes the emotions of the dysfunctional troupe to the edge and they propose a private exhibition of their play The Rite for his evaluation where the judge finds more than eroticism and obscenities.

I am a great fan of Ingmar Bergman, my director number one ever, I have already seen most of his movies, but "Riten" is not among my favorite ones. The claustrophobic and theatrical drama with actors playing actors is extremely well acted but is too experimental and Kafkaesque for my taste. Of course I recommend to any cinema lover to watch this film (I have seen it twice); but be prepared to see a very hermetic story without explanation for the final impressive sequence, open to the most different interpretations. I believe the greatest problem with me is that I have watched "Riten" out of the chronology of Bergman's filmography, since the DVD has been released only a couple of months ago in Brazil. In the future, I have the intention to see the movies of Bergman again in chronological sequence to try to follow and understand a little bit more his brilliant mind. My vote is six.

Title (Brazil): "O Rito" ("The Rite")

Rite, The (1969)

*** 1/2 (out of 4)

A judge (Erik Hell) asks three actors (Gunnar Bjornstrand, Anders Ek, Ingrid Thulin) to enter his chamber for individual questioning so he can determine whether their performance is obscene or not. While the play their acting in is the main reason for questioning, the three actors as well as the judge have other issues to deal with as well. This was the first film Ingmar Bergman made for television and I really wasn't expecting too much and was honestly shocked at how well the film worked considering there's no real story to deal with. The dialogue is wonderfully written and Bergman's bleak direction builds a nice little atmosphere. The rest of it is up to the four actors who all deliver very good performances. Bergman even appears in one scene playing a Priest. It's also rather funny to see what could be shown on Swedish television back in 1969. There's no way in hell this thing could play in America today let alone way back then.

I'm one of those: Ingmar Bergman is a true artist, a great filmmaker who's connection with the brightness and deepest darkness of human nature, of faults with religion, with close relationships, horrors of the mind, dreams, was so strong that it's hard to believe that he made so much and didn't succumb sooner to his most dogged troubles- death. In the case of the Rite, it's basically an experiment. He has ten scenes, four actors (not counting himself in an uproarious cameo appearance/in-joke on the Seventh Seal as a priest), and a lot of sado-masochistic psychology to work with. There aren't quite as many monologues as in Persona, and not the same depth of a relationship ala Scenes From a Marriage. But for the most part, the Rite works well as another exploration of Bergman's into the frayed mindset of actors, the discombobulated circumstances they get themselves into personally that mucks them up in the real world. Only the theater is their strange refuge, might be the message here, if there is one.

One thing's for certain, among the many performances that Bergman stock-company members Bjornstrand and Thullin have given in past films (Winter Light maybe their best pairing), the Rite provides them some of their best work. It might be almost too easy considering the material- a married couple that is completely miserable, full of the kind of bile that is found in the worst boils- and brought to a more succinct point by the actor Anders Ek (who has also been in a couple other Bergman flicks, notably Seventh Seal as the Monk), who might be the most exhaustedly p-o'd actor one's ever seen. They're all on trial for some Kafkaesque reason by a judge (Erik Hell) who is making their nerves totally on edge with his insistence on all the 'facts' coming in. The scenes particularly with him and Thulin are explosive, and even shocking to a point, where as before there's been subtlety and insinuation.

As it stands, approximately 9/10ths of The Rite is close to vintage Bergman as one could hope for, coming out of a period in the 60s where he plunged into a deconstructionist approach that found him working at full-steam (Persona, Shame, and Hour of the Wolf are some of the most daring 'art-house' films ever conceived and executed), and considering this as just an exercise is nothing to sneeze at...That being said, there is that final scene in the office I can't get out of my head, and unlike other times with Bergman I'm not sure it's such a good thing. It's a turning-the-tables scene where the actors come in costumes and masks ala Eyes Wide Shut and freak the f*** out of the judge, and Hell (no pun intended) goes into a rant about how wrong he was and how he sees that he's just a lawyer who didn't want to do this and that and so on. And it just doesn't feel the same as the rest of the material in the film, an 'off' quality, despite (or in spite) of the fact that on its own it's a truly outrageous thing to see: the costumes are sado-masochism incarnate, with a certain appendage that is ridiculous, and a bowl of wine that is obvious symbolically.

Maybe someday if I re-watch the Rite I'll come to admire or find something else about the scene that works better, but for now it's the only thing that is really a bugger about what is otherwise an exemplary work of cinematic theater. If you can find it somewhere in your local video store (emphasis on 'video', it's not available on DVD), and are already head-deep in the master of Scandinavian motion pictures, it's worth it.