As my love for film has exponentially grown day by day, I have been compelled to open my mind to new film going experiences. Although this may seem elitist, but I honestly believe I am willing to watch any film. Whether its an inconsequential comedy or foreign arthouse flick, I have the determination to see it. Had it not been for such an inclination to see numerous films, I would have never laid my eyes upon Ingmar Bergman's "The Virgin Spring."
Leading up to my viewing of "The Virgin Spring", I was interested as to what the film was about. Considered by many to be one of Bergman's best films, much of what I read about "The Virgin Spring" revolved around one word: uncomfortable. Well, after viewing the film there was a sense of unease that rested in my mind. Not only for what I saw, but also in deciphering what Bergman was trying to say. The film itself takes place in Sweden, during medieval times. A young girl (Karin), a budding, but naieve teenager is sent by her parents to deliver a set of candles to their church. On her way to the church, the young girl is viciously raped and attacked by three brothers (although only two are the perpetrators) pretending to be goat herders. As simple fate would have it, the three brothers end up "shacking up" that night at Karin's home, which eventually leads to a vengeful decision by Karin's father, Tore (played by Max Van Sydow). If you think this premise sounds familiar, it is because this is the film that Wes Craven's "Last House on the Left" is based on, except Craven's adaptation is devoid of any moral uncertainty.
Now, the rape and murder scene is extremely tough to watch. Yet, where some films, like Craven's earlier works, depict rape and murder in an over the top, exploitive way, Bergman treats the unthinkable with sensitivity and intelligence. He understands the notion of such scenes, and they are not there for the sake of gratuity, but to later fuel the questions he bestows upon the viewer. Even though the rape and murder scene is the toughest to watch, Bergman does not let the viewer off so easily throughout. Instead, Bergman does something quite amazing: he builds tension and dread through the quietness of the world. Many scenes of the film are filled with natural noises. A gust of wind here, the scream of a crow there, and the noise bellowing from the crickets at night. It seems like all is calm and in order, but there is a dread that hangs over our characters almost as if they're thinking "things are too quiet." This sense of dread is what drives what is a rather slow film.
Accompanying a sense of dread is the cinematography by Sven Nykvist, who beautifully shoots the Swedish country side and delivers some truly gut wrenching shots. Such a shot is of Karin lying dead on a hillside while it begins to snow. The camera focuses on her as she lies there lifeless and peering through branches back at us, as snowflakes slowly fall upon her. This particular scene was so achingly beautiful and tragic that I did not know if I should cry out in the name of beauty or vomit due to injustice of the crime that took place. I think it was imperative for Nykvist to deliver such a scene in order to capture the essence of Bergman's film: life can be such a beautiful tragedy.
Now, I notice that most of this review is focusing on how uncomfortable this film will make the viewer, but for as much as this film challenges a viewer's gut, it challenges the mind just as much. I could certainly delve into the specifics of the questions one must ask themselve upon viewing the film, but I'll only scratch the surface. To no surprise, with most of Bergman's films dripping with religious themes, "The Virgin Spring" is an examination on morality and religious beliefs. More specifically, it plays out the confusion and frustration some of us may have with "God." In the case of "The Virgin Spring", the confusion rests upon Tore's shoulders as his daugther was brutally stripped of her innocence as God sat and seemingly (in Tore's words) 'watched.' This is more confusing to Tore considering his daughter was not only a virgin, but a woman of God who was devout. I imagine this story was a representation of the confusion Bergman often had with "God", and I imagine we've all been in that spot. How could "God" create such beautiful moments in our lives and yet, place us in the way of harm and tragedy?
Obviously, Bergman will never have an answer nor will we. Yet, its an interesting question that Bergman places before our feet. Why worship someone if their graces are not reciprocal?
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