Bergman's first film with cinematographer Nykvist is a beautiful looking adaptation of a medieval Swedish ballad in which a father seeks revenge for the brutal rape and murder of his cherished daughter. Bergman was greatly influenced by Kurosawa at the time and the forest setting in which the crime takes place has echoes of Rashômon. The Great Swede considered the film a failure but he was wrong: it's a masterpiece..
An effective, luminescent revenge tragedy, but as a morality play it feels somewhat distant and most of it leaves me cold, other than Karin and the Boy, who share a bracingly honest, wide-open screen presence. Gorgeous and admirably thoughtful, but the disparate themes never gel and what could be a quietly harrowing experience feels merely like a quasi-historical intellectual exercise.
Why was she sent alone (ok she was with her maiden, but that's 0 protection)? At least 2-3 guards should have been with her. Is there an explanation in the book? How stupid can you be to try to sell the clothes of your victim to their parents? They knew their adress, she told them.The father was right to take matters into his own hands (I would've tortured them), but he went too far when he killed the innocent child.
Simple, unostentatious and actually not intellectually insulting, it is precisely for these reasons that this is easily Bergman’s solitary film of worth. Spirituality is wrestled with honestly through moral ambiguity of doubt and affirmation but not wielded into certain religious dogmas via abusive symbolism like the usual modus operandi. God is beyond feeble humanistic understanding, answering directly to no one.
So much like a Christian parable. What I love about this film, as well as in many of Bergman's films, and of a few other directors, is the genuine pulse that arises in the characters, which somehow externalizes, leaves the body in which it evolved, and start to manifest freely as if is being reborn as music or other ethereal substance.
"See the smoke trembling under the roof as if with fright?" this film is full of simbology. the first half builds up for a tale of jealousy, regret and shame, which is fully achieved on the second half. // even though purity has been chopped down, we can always achieve purification. for those of us who have no beliefs in no particular god, this film delivers us from evil
Certamente non il Bergman migliore,anche se i paesaggi ed il taglio dei protagonisti ricorda molti suoi lavori certamente più acclamati.Troppa frettolosa la parte iniziale,bella ed intensa la reazione dei familiari(grande Max Von Sydow) e commovente il finale della storia.Non crea molta empatia perchè non entra troppo in profondità come nella migliore tradizione del Maestro scandinavo.
A beautiful but heartbreaking film with no flaws to be found. I was gripped by its simplicity but loved the delicate balance of big and small. The brutal violence and serene sequences of everyday life contrasted each other as much as the cruel and nature-filled Paganism clashed with the infinite but doubt-filled Christianity.