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L'Œuf du serpent

Original title: The Serpent's Egg
  • 1977
  • 12
  • 1h 59m
IMDb RATING
6.6/10
6.7K
YOUR RATING
L'Œuf du serpent (1977)
DramaMysteryThriller

Berlin, 1923. Following the suicide of his brother, American circus acrobat Abel Rosenberg attempts to survive while facing unemployment, depression, alcoholism and the social decay of Germa... Read allBerlin, 1923. Following the suicide of his brother, American circus acrobat Abel Rosenberg attempts to survive while facing unemployment, depression, alcoholism and the social decay of Germany during the Weimar Republic.Berlin, 1923. Following the suicide of his brother, American circus acrobat Abel Rosenberg attempts to survive while facing unemployment, depression, alcoholism and the social decay of Germany during the Weimar Republic.

  • Director
    • Ingmar Bergman
  • Writer
    • Ingmar Bergman
  • Stars
    • Liv Ullmann
    • David Carradine
    • Gert Fröbe
  • See production info at IMDbPro
  • IMDb RATING
    6.6/10
    6.7K
    YOUR RATING
    • Director
      • Ingmar Bergman
    • Writer
      • Ingmar Bergman
    • Stars
      • Liv Ullmann
      • David Carradine
      • Gert Fröbe
    • 42User reviews
    • 35Critic reviews
  • See production info at IMDbPro
  • See production info at IMDbPro
  • Photos105

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    Top cast49

    Edit
    Liv Ullmann
    Liv Ullmann
    • Manuela Rosenberg
    David Carradine
    David Carradine
    • Abel Rosenberg
    Gert Fröbe
    Gert Fröbe
    • Inspector Bauer
    • (as Gert Froebe)
    Heinz Bennent
    Heinz Bennent
    • Hans Vergerus
    Toni Berger
    Toni Berger
    • Mr. Rosenberg
    Christian Berkel
    Christian Berkel
    • Student
    Paula Braend
    • Mrs. Hemse
    Erna Brünell
    • Mrs. Rosenberg
    • (as Erna Bruenell)
    Paul Bürks
    • Cabaret Comedian
    • (as Paul Buerks)
    Gaby Dohm
    Gaby Dohm
    • Woman with baby
    Emil Feist
    • Miser
    Kai Fischer
    Kai Fischer
    • Prostitute
    Georg Hartmann
    • Hollinger
    Edith Heerdegen
    • Mrs. Holle
    Klaus Hoffmann
    • Commando Announcer
    Grischa Huber
    • Stella
    Volkert Kraeft
    Volkert Kraeft
    • Commando Leader
    Gunther Malzacher
    Gunther Malzacher
    • Husband
    • Director
      • Ingmar Bergman
    • Writer
      • Ingmar Bergman
    • All cast & crew
    • Production, box office & more at IMDbPro

    User reviews42

    6.66.7K
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    Featured reviews

    7Quinoa1984

    like one of the beings in the mad doctor's experiments, this film is a tortured, deconstructive kind of movie, never too boring

    One can look at Ingmar Bergman's the Serpent's Egg as being many things, but it should not be looked at through the same prism that one looks at say Through a Glass Darkly or Scenes from a Marriage. This is Bergman being 'cinematic', and for the lone moment of a career spent with low-budget film-making and theater as his passions, a big-budget, a Hollywood star, and a sprawling canvas to work on, was at his finger-tips. It's also one of his few shots at not only an 'homage' kind of movie, but also one in English (one of only two). So it's the dark horse (no pun intended) when compared to the more one-on-one based films. This time the star, David Carradine, is not only an acrobat, but also in a city where the environment is grim, to the point of a scarcity of hope amid the post WW1 German cityscape. It's not the kind of film, in other words, that'll make money in the mass US market coming off the high of Star Wars (though it's been said that this film did make back it's money in Europe and then some). It's the kind of uncompromising vision that goes for broke, and it's a fascinating journey.

    Carradine, who is at his best with a certain style and down-played quality that keeps him still cool today, is an American in Berlin, where his brother's just died in a rather grotesque fashion. This puts a certain immediate marker of doom over him and his sister in law, played by Liv Ullman (if, for no other reason to see the film, it's for her work, as usual). Over the span of a week (surprisingly so, if not for the voice over one might feel it being longer), amid the rain and nights and drunken stumbles and over-heated moments, Abel Rosenberg tries to deal with all that's going on. But there are stranger things lurking ahead with his upcoming job. This story is dealt with by Bergman in a curious way- it SEEMS a little longer at times, but it doesn't lose a certain momentum, of stripping away its character's defenses bare. Even Carradine, an actor who's mostly had a career as a larger-than-life kind of persona, gets intense with his work here.

    Where Bergman gets entangled in everything he's got going on is a sense of structure to it. It's not the kind of 'soul-searching, hell if I know if God can help' film, but one more connected to the perverse, lurid qualities of the control some people could have over these people at this point of time in the world. One could say it's connected stylistically with the films of Murnau and Lang, however I would argue that more than half the time I did still feel like I was seeing a Bergman film, with his part n parcel cinematographer Sven Nykvist expressing greatly what is there in the huge set constructed of 1922 Berlin. And because of this, there's still the close-ups, and the surreality that's induced. But because there's so much to work with, with sometimes overwhelming scenes (like when Carradine walks into that bar, loaded with people, compact and tight, or whenever there's a chase or 'danger' kind of moment for Rosenberg, or just having to deal with large crowds or difficult lighting set-ups), the narrative thread gets tangled up. The opening shot of the people walking in slow-motion is brilliant, yet I didn't feel that same brilliance in the film.

    Several directors hit this kind of moment in careers, where a larger-than-usual concept is provided by the appropriate budget. That it's in English is unusual, and though Bergman is functional in the language, one can tell there's not the same fluidity in the writing at times. However I don't discredit the Serpent's Egg as this horrible quagmire of a picture, as I was almost led on to believe. It still contains some extraordinary stuff, like the Cabaret scenes, as weird and compelling as some of the stuff in the Silence. Or the terror instilled when Heinz Bennent's character shows Rosenberg the 'footage' towards the end of the film. But it's also one of the more difficult films of Bergman's I've seen, that moves at a pace that's post-modern, and not too steeped in the 20's (that is one of its strong points at times in theme), while resisting going for the easy, Hollywood big-budget kind of movie-making. 7.5/10
    9claudio_carvalho

    The Vision of a Master for the Seed of the Nazism

    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")
    10paranoidnebula

    Let's be fair for a second

    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.
    8Xstal

    Through a Looking Glass Darkly...

    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.
    6michelerealini

    Not a really Bergman film

    The film is interesting, of course -it tells about the rise of Nazi power. But this is the less "bergmanian" film of Ingmar Bergman. It's not an intimate portrait of people -as the Swedish director always does. Here we have a big budget movie, with many actors... Although the presence of Liv Ullmann, Bergman loses his targets. On one side he wants to analyze a period, on the other one he has to follow more mainstream rules -because he works for a big budget production. As a result he "fails" (it's a big word) in both things -although the film is not a failure.

    We feel Ingmar Bergman is not really at ease. This is not his natural dimension -he's a super director because he has an extraordinary ability of understanding neurosis and anxieties, his favorite context are the relationships among a few people. In "The Serpent's Egg" these trademark are really minor.

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    Storyline

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    Did you know

    Edit
    • Trivia
      This is director Ingmar Bergman's only big-budget production. It was made at the height of Bergman's worldwide popularity as an arthouse filmmaker and produced by Dino De Laurentiis, who insisted on shooting in the English language and casting an American star to make it more appealing for the American market. Unfortunately, the film got mostly bad reviews and failed to generate any commercial interest in America, but it did respectable business in Europe.
    • Goofs
      The Nazi-looking thugs that are beating up people are wearing Model 1943 German army caps and 1940s style clothing. This film is supposed to take place in the 1920s.
    • Quotes

      Abel Rosenberg: I wake up from a nightmare and find that real life is worse than the dream.

    • Connections
      Featured in Away from Home (2004)
    • Soundtracks
      Das Lied vom süssen Bonbon
      (uncredited)

      Music by Rolf A. Wilhelm

      Lyrics by Rolf A. Wilhelm and Kurt Wilhelm

      Performed by Liv Ullmann

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    FAQ17

    • How long is The Serpent's Egg?Powered by Alexa
    • Is it actual documentary of inhuman experiments used in the film?

    Details

    Edit
    • Release date
      • December 7, 1977 (France)
    • Countries of origin
      • West Germany
      • United States
    • Languages
      • English
      • German
    • Also known as
      • The Serpent's Egg
    • Filming locations
      • Münchner Straße, Backlot, Bavaria Studios, Bavariafilmplatz 7, Geiselgasteig, Grünwald, Bavaria, Germany(Studio)
    • Production companies
      • Dino De Laurentiis Company
      • Rialto Film
      • Bavaria Film
    • See more company credits at IMDbPro

    Box office

    Edit
    • Budget
      • DEM 12,000,000 (estimated)
    • Gross worldwide
      • $39,238
    See detailed box office info on IMDbPro

    Tech specs

    Edit
    • Runtime
      • 1h 59m(119 min)
    • Color
      • Color
    • Sound mix
      • Mono
    • Aspect ratio
      • 1.66 : 1

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