O Ovo da Serpente

Does Liv Ullmann ever do less than brilliant, does Ingmar Bergman never surprise?

Depression hit post Great War Germany, the moods, the sets, the atmospheres almost have you reaching for a bottle of whatever takes your troubles away from the very off, but also wondering how David Carradine might improve, or at least maintain the high level the director's portfolio had achieved to date (albeit acknowledging the Elliot Gould effect of The Touch). The answer is he doesn't and, while he does scrape through until the end, you're left reflecting on the fantastic selection of actors from Sweden the maestro deployed to such ground breaking effect through his lifetime behind the lens.

An intriguing story that gathers pace towards the end.

In November of 1923, in a Berlin where a pack of cigarettes costs four million marks and people has lost faith in the present and future days, the alcoholic and unemployed American acrobat Abel Rosenberg (David Carradine) loses his brother Max, who has just committed suicide after feeling depressed for a period. Seeing the modifications in the behavior of people, but without clearly understanding the reasons, Abel moves to the room of his former sister-in-law Manuela Rosenberg (Liv Ullmann), who works in a cabaret in the night and in a whorehouse in the morning. Together, they move to a small apartment near to the clinic of their acquaintance, Professor Hans Vergerus (Heinz Bennent), who gives a job opportunity to Abel in his clinic. While working in the place, Abel discloses the evil truth behind the researches of Hans.

"The Serpent's Egg" is an underrated, but also excellent work of Master Ingmar Bergman, one of my favorite directors. In the environment of a Germany with hyperinflation, where people in a moment exchanged marks in weight so fast the currency lost its value; lack of job opportunities, with massive unemployment; the great people and nation humiliated and hopeless, paying for the loss of World War I, Bergman presents his view for the seeds of the Nazism. He introduces the evil character of Professor Hans Vergerus and his sick experiments, and the common person Abel Rosenberg, who sees the modifications in a country where he has problems with communication, since he does not speak German, but can not understand. Unfortunately this movie has not been released on DVD in Brazil, and my VHS has a bad quality of image, impairing the magnificent cinematography, especially in the nocturnal shots. The cool David Carradine is in the best moment of his career and is amazing in the role of Abel Rosenberg. My vote is nine.

Title (Brazil): "O Ovo da Serpente" ("The Serpent's Egg")

I can't quite understand these alleged Bergman "fans" who say that this film is somehow lacking. Whereas "The Serpent's Egg" is not on par with say, "Fanny and Alexander" or even "Scenes from a Marriage," and even though it is, admittedly, not "Bergmanian" in the sense that the director's strength lies in acute insight into the emotional complexities of his characters, it is NOT, in any way whatever, an inferior film. Here we find Bergman writing and directing a film that steps briefly away from his norm. The fact that this film is better than, for comparison, anything from Polanski (who's "element" is the long-winded suspense film) makes it worth much regard. In fact, I am moved to say that "The Serpent's Egg" is a display of writing/directorial versatility that remains unsurpassed to this day.

This being said, no film should really be rated in terms of previous works of its own writer/director. It should be rated in comparison only to other films. Bergman is a superior director and one of the most talented writers at that. Whereas Bergman himself always strove to be better than Bergman, we should be fair for a second and admit that he is almost always better than anyone else.

Fear, Loathing, and Despair in Berlin, November 1923

This film universally considered "the master's failure" but I don't agree with the statement. It is very different from the rest of Bergman's films I've seen but that does not make it failure for me. It is only Bergman's second film in English and it boasts an unusual for his films large budget (Dino De Laurentis was a producer) with enormous and elaborate sets. Bergman was able to recreate on the screen Germany (Berlin) of 1920th exactly how it was seen in the films of 1920th German directors - Fritz Lang's films come to mind first. Another film that The Serpent's Egg reminded me of was Bob Fosse's Cabaret - the theme of the Feast during the Time of Plague sounds very prominent in both films, and the cabaret's musical numbers in Bergman's film could've came from Fosse's. I was very impressed by Liv Ullmann's singing and dancing in the beginning of the film - she can do anything.

In spite of the film's obvious differences from Bergman's earlier work, it explores many of his favorite themes. It is in part a political film about the helpless, distressed and terrorized members of society that face the merciless and inevitable force of history and are perished without a trace in the process. Also like the earlier films, The Serpent's Egg explores its characters' self-isolation, inability to communicate, their attempt to cope with the pain of living, their despair, fear, and disintegration.

The Serpent's Egg may not be a perfect film and a lot has been said about the abrupt and heavy handed ending, the dialogs that don't always work, and David Carradine's performance as a main character. Perfect or not, I think it is an interesting, visually always amazing (cinematography by Sven Nykvist is above any praise) and very honest and thorough study of the human condition in the unbearable situation.

In the documentary 'Serpent's Egg: Away From Home' (2004), Ingmar Bergman, Liv Ullmann and David Carradine talk about making the film, how it started and how and why it was so different. Liv said that couple of years ago she and Bergman had seen The Serpent's Egg for the first time, and they both liked it. I am in a good company, then, because I believe that Serpent's Egg is an unforgettable film and everyone who was involved in making it should not be ashamed of it. I am yet to see a Bergman's film that I don't like.

The Serpent's Egg is almost universally panned because it bears the signature of Ingmar Bergman, yet it doesn't feel much like a Bergman movie - except in a couple of flashes.

Most of the movie is set in dark, humid and chilly inter-war Berlin, where the protagonist gets ever closer to a sinister revelation. This side of the movie feels a bit like another bleak 70s artifact, Soylent Green. When David Carradine gets - at last - hired as an archivist in a sinister clinic, the viewer's interest is piqued.

However, Carradine is saddled with a sister-in-law, Liv Ullman, who comes along with a different set of scenes, that recall Cabaret without the acrid verve of the original. Liv Ullman tries hard, but she is truly miscast. Jane Birkin would have been perfect in this role.

The dialog is poorly written and gives the movie the choppy quality that everyone has objected to. The lines sound translated, unnatural, and David Carradine can't be faulted for sounding lost.

The big budget is well spent, and the film is not boring, nor pretentious. Some effects are in poor taste (the opening credits, and an excruciating scene in a brothel).

I suspect that The Serpent's Egg would have a better reputation today if it had been signed by a lesser director, say, George Pan Cosmatos. Without changing a single shot, it would be remembered as an interesting attempt at something different.