The Virgin Spring
Beggar: Flying birds find something, sitting birds only find death. I have found both women and churches.
My experience with Bergman is nearly non-existent. In fact, after perusing his list of films it was even more so than I had initially believed. (My only other Bergman film is
Through a Glass Darkly.)
Something I may reconsider if not just to see more of a young Max Von Sydow whom I've always enjoyed in later films and, of course, within this film with such presence as the loving, trauma-ridden father of the young Karin who is raped, killed and her clothes stolen.
In fact, I did enjoy the ensemble within this film. The mother and the farmhands, though not so much the daughter. Though that may be a subconscious thing knowing what was to befall her.
The thieves/rapists/murderers did an excellent job as desperate, hungry, cruel individuals who covet and steal with brutality.
I especially like the performance of Gunnel Lindblom who played Ingeri. The jealous bitterness was displayed very well in the opening parts of the film. Her calling out to Odin in particular created a strong promise of the "mood" of this film.
Something I didn't realize until meandering through IMDb as I do, but the one-eyed Bridge Keeper is actually supposed to be Odin with a number of hints to express this. A nice touch, that. And an amusing irony since the family is ardently Catholic and it is a "pagan" god that answers the prayers of the servant girl, Ingeri while the catholic God allows the rape/murder to occur. Sydow's character lamenting over that fact at the end of the film while with the same breath promises to build a church for Him.
While I am someone who does struggle through most arthouse films throughout the years, I found myself involved and intrigued as this played out.
I also watched the interview with director Ang Lee with the DVD I rented from my library. He had an excellent remark about how this film was so serene even with so much violence. He also noted on the intriguing use of filming Sydow's lamenting figure from behind instead of, as is more common, from in front to capture his emotions and how he would find himself doing the same thing when filming a character deeply lost in similar circumstances.
Intriguing stuff.
And an intriguing film to finish this Hall of Fame with.