The
Seventh Seal (1956)
(aka
Det Sjunde inseglet)
Ingmar
Bergman's classic black and white foreign film is forever
etched in cinematic history as the film where a character
plays chess with Death for his life. Lampooned and spoofed
ever since, the prototype here is stunning and miraculous.
Bergman's film is no less than a meditation on the meaning
of life. As with his later "The Virgin Spring," the
director brings forth a period piece, set in medieval
times and congested with superstition and dogmatism.
Set at a time when the Plague is sweeping across their
land, the characters here travel ever forward towards
their doom like the antithesis of explorers. Max Von
Sydow, whose character plays chess with Death, longs
for meaning to existence and prays for signs from God
that he is actual. His wishes go unfulfilled. Instead
what he finds is meaningless, suffering, and a faith
in God which proclaims that man is sin and therefore
must be punished. Von Sydow's character has come home
from the crusades and, after apparently witnessing much
horror abroad, finds horror at home as well in the permeating
existence of the Black Plague. But what makes the film
so resonant is it's themes of modern man bewilderment
contained within a film set in the 14th century. One
realizes that the proverbial "end of the world"
is not modern man's invention. What medieval man could
have looked upon the horror of the plague and not seen
the apocalypse? This makes us, in our modern times,
wonder even more questioningly about the existence of
man and his purpose on Earth. The eternal questions
truly are eternal. Surely God does not exist; If he
did, he would not allow such torture and torment to
be heaped upon his creation. If he does exist and allows
such things, how can he be worthy of worship?
But Bergman juxtaposes all this spiritual angst with
wonderful lightness provided by a troupe of actors also
travelling in the countryside. They, accompanied by
their delightful and half-naked infant, will become
the hope which we must have at the end of the film.
Bergman's true theme is that life is meaningless and
it ends in nothingness so it is up to us, while we are
here, to dance, sing, live and be happy. What other
choice could there be? It is the only way to cheat death.
As with his early black and white work, Bergman's pictures
here are superb. The film is simply wonderful to behold.
Can anyone not look at the beauty of the images here,
with their sharp angles and brilliant contrast and not
become mesmerized? Bergman makes every scene come to
life while still remaining within the constraints of
his time period for the plot. The film, and every image
it contains, is both airy and claustrophobic, devastating
and hopeful - much like his theme.
Set in the Swedish language, the film's subtitles are
often irritating as it seems we do not get every word
of the poetic dialogue translated for us. Either the
Swedish language is much more grandiose than our own,
or there have been some thoughts and phrases withheld.
Also, Bergman's score for the film, which we must assume
is the original soundtrack, is much too thunderous and
loud at times. It takes away from the simplicity of
the images we are shown. Regardless, it is almost impossible
to take away from the wonderment of this film. It is,
rightly so, a cinematic masterpiece, a classic.
Note: In Swedish with subtitles. Based on Bergman's
stage play. The title refers to a passage in the Bible.
The last shot, with Death dancing with his victims was
shot using crew as actors.
The film won a special Jury prize at Cannes but was
oddly judged as "too good" to be considered for "Best
Film" that year.
More
of Lodger's reviews indexed alphabetically! Just click
your favorite letter to go there.
a
b c
d e
f g
h i
j k
l m
n o
p q
r s
t u
v w
x y
z
HOME
|
In
Association with:
|
Posters From!
|
|
Please Visit 
|
|
