The Virgin Spring

by Erin H.
27th January 2006

Directed by Ingmar Bergman
Featuring: Max von Sydow, Birgitta Valberg and Gunnel Lindblom
Runtime: 89 minutes
Released: 1960

If a novel is a masterpiece, It seems to follow that a well made film based on that novel would be as well. Many filmmakers have made this assumption only to produce pale imitations that only hint at the greater work. At the same time, some filmmakers have accomplished great things by taking mediocre works with a great idea and turning into it into a cohesive, successful film. (see Kurosawa's High and Low, or Quentin Tarantino's Jackie Brown. Two extremely well made films based on thoroughly sub par books.) In 1959, a young Ingmar Bergman set to work on a film which although based on an ancient folk ballad, leaned heavily on the works of Russian author, Fyodor Dostoevksy. Whether directly or through the influence of Akira Kurosawa(who Bergman was a big fan of), "Virgin Spring," comes across as a step by step retelling of many of Dostoevsky's masterworks. From hopeful beginning, to beauty shattered, betrayal by a fallen woman, merciless villains, acts of great depravity made in either desperation or rage, and eventually, to the hope that through a relationship with God, one can find redemption.

Set in 14th century Sweden, the film opens with a picturesque family, made up of the loving but cautious Mareta, her husband the doting Tore, and their spoiled, naive daughter Karin. Karin sets off to church one day with the pregnant, fallen foster daughter Ingeri. Ingeri is shown from the beginning to be a quite resentful, angry woman who's lack of Christian devotion and moral character has led her to such a sunken state. Her hatred for the spoiled and slyly manipulative Karin is so great that she prays to her pagan God for evil to befall Karin. As usually happens in stories like this, her angry prayer comes horrifyingly true while on their way in the form of three drifting herdsman claiming to be brothers. One being mute, the other the vile leader, and finally a young boy who appears more desperate than evil who's lot in life is simply to wander with these viscous men. After ingratiating themselves with the young girl, they all sit to have lunch together. This slowly leads to one of these most disturbing scenes in cinematic history. The rape of Karin by the two elder herdsman is made all the more affecting by her seemingly peaceful, accepting response. She is then murdered by the mute herdsman. Ingeri, who witnessed from a distance, although seemingly powerless, makes the fateful decision not to interfere.

The herdsman than continue on their way towards work. Again, as often happens in stories of the kind, The next farm where work is available happens to be the family of the murdered young girl. The father who although concerned with his daughters lateness, has grown used to such things and agrees to hire on the three wanders. They are then shown where to sleep until the next mornings work is to be done. The film at this point turns into a Crime and Punishment like story, where inner dialogues are expressed almost exclusively in the faces of all involved. It is clear that the boy must make a choice. Stay with the only people who he has ever known as guardian's or escape the eventual depravity that ominously looms in his future. His choice is however made for him when one of the herdsman tries to sell Mareta the clothes of her deceased daughter.

From this point on the film is near silent. Minutes seem to go by without words. To call what transpires revenge, would be a great simplification of an extremely complex situation. Without giving away anything, the subsequent scene is one of the most shocking and heart breaking moments in film. It shows violence in all forms is bestial. When man behaves as animal, he rarely knows where to draw the line. At this point I'll take the time to point out perhaps the finest thing about this film. The absolute pitch perfect performance by one of the finest actors in the history of cinema, Max Von Sydow, as the father Tore. It is one of the most real, subtle performances ever put on celluloid and a far cry from the over the top, not an emotion not depicted obvious acting that has befallen film, especially American film these days.

The films climax, again like many of Dostoevsky's masterworks has been criticized for it's extremely over the top religious symbolism and less than subtle characterization of God being the only way to salvation. Although a valid argument, Tore's words hint less at faith than at desperation. Like many, It is not God who has brought him to this choice, It is his actions which has left him no choice but to turn to God. This film which at it's core is a straightforward, almost overly simplistic morality tale, which shows the contrast between two youths, both poorly handled by their guardians. One who through coddling and allowance, has been left ill-prepared to face the evils of the world. The other who through seeing nothing but the evils of the world has been been left crippled to follow his better instincts. The film is elevated to greatness by the partnership of one great actor (Sydow) and one of the finest directors (Bergman) we will ever know. In a world where depth and emotion has been replaced by simplistic action and vulgar humor, "The Virgin Spring" stands as a monument to a time when film was much more than just entertainment. To a time when film itself, could lead to redemption.

"The Virgin Spring" which was released in 1960 was banned in many countries for it's realistic depiction of rape. It is now released by Criterion, unedited, for the first time on DVD. Along with Criterion's usual remastering, there are countless treasures of extras, including an audio recording of a lecture from 1975 by Bergman himself.

Erin H. is an employee of Le Video and apparently likes Ingmar Bergman. It's been rumored amongst the staff that he likes to hide behind the French Directors' section and enigmatically whisper "Claude", but we're never sure whether he means 'Chabrol' or 'Miller'. We like to tranq him when he does this, as we'd like to avoid hurting him before he's sent back out into the wild.