The Seventh Seal - Criterion Collection (1958)

Excellent

One of the things that separates a great artist from a lesser one is his ability to switch forms, themes, and the like, yet still imprint that unmistakable essence that lets a viewer know which artist they are dealing with immediately. Rarely has there been a greater and more vivid example of this reality than in comparing the two films Swedish filmmaker Ingmar Bergman released in 1957: The Seventh Seal and Wild Strawberries.
The first film, which is the subject of this essay, is stark, cosmic, spare, allegorical, and unremitting in its view of life, whereas Wild Strawberries is rich, personal, realistic (even if it uses symbolism), and open to several viable interpretations. Both films starred many of Bergman's `stock actors from the 1950s: Max Von Sydow as Knight Antonius Block, Bibi Andersson as Mia, the wife of Jof the jester (and utterly gorgeous, as opposed to mere cuteness in Wild Strawberries), and Gunnar Björnstrand as Block's squire Jöns, a pragmatic Sancho Panza to Block's spiritual Don Quixote. While Björnstrand is nominally the third lead in the film, behind Sydow and Bengt Ekerot as the personification of Death, in truth he is the dominant lead character, with by far the most, and the best, lines of dialogue. And while this film is an allegory loaded with symbolism, it is also a very simple story of a middle 14th Century knight's return to Sweden from the Crusades of the Middle Ages.... The acting is uniformly excellent. Sydow is utterly transparent as Block. We see every cranny of doubt and belief written on his face. Poppe, as Jof, shows what Roberto Benigni might be like, if he had a dram of depth, Ekerot's Death is frightening only in his pomp and banality, but Björnstrand gives a truly great performance in the most difficult of the roles- treading between comedy and drama, realism and absurdism, as the squire who seems to be the wisest of all the characters. While this film was made at the height of the early Cold War, and many early reviewers took the Plague as an allegory for nuclear war, the film is far more than a simplistic political screed. At 96 minutes it also is not tool long that it batters the viewer with its message, nor too short that it slips quickly by. This film proves why black and white is still a vital tool in filmmaking. Had it been shot in color its dreamy quality would be rent, for shadows and depth are far easier to portray in black and white, and are far more suggestive of moodiness and inner turmoil. One problem is that the DVD version of the film I have, from The Criterion Collection, errs in allowing the black and white English words to be used, rather than colorizing them for clearer and speedier reading, thus detracting from the visual cornucopia onscreen. This is why watching the film, a second time, with or without comments, is recommended, for many visual subtleties are revealed that are lost in a first viewing's necessity to read the dialogue
All in all, it's little wonder why speed-addicted, and Lowest Common Denominator afflicted American viewers have never taken to films like this, of such high quality. Yes, the writing is spare, but it is not meant to be realistic, and some of the imagery, and acting is straight out of silent German Expressionism, which only reinforces the revery-like feel of the film. And while Americans are noted for cherishing their dreams as hopes, how few ever recall their dreams as theater?
September 20, 2008

Bergman tackles a topic of death

Made in 1956, in black and white, this film was one of the first ones ever to explore the topic of death. Fans of Ingmar Bergman know that director explored the meaning of death in his work. Born and raised in a strict and religious family, Bergman was intrigued about the mysteries of life and death, purpose of life and meaning of punishment. This film, placed in 14th century Sweden immediately after Crusades were over and Black Plague decimated the population of Europe, explores exploitative power of religion., pristhood and church, hardship of life for artists and actors and one knight's desire to elude death until he finds answers to his own questions about life and death; purpose of life; belief in God and other existential questions. In attempt to gain time, he bargains with death to buy in some more time while playing the game of chess. He is hoping that finding answers would give him hope on his life spent on earth and also help him save a young family from doom in hopes that perhaps the next generation will find a greater purpose. We learn that search is futile and that there is no barganing with death. We all receive death and our final hours differently just as we are all unique individuals and as such live our lives on earth. Some of us are ready and resigned to it, some scared, some fearful, others welcoming of death as a means of our begining of the new life. Just like life, death turns out what we make of it. It is unavoidable and part of every living being. It cannot be denied, talked out of it, bargained with or postponed. It comes at its own time on its own terms and releases itself into a new day. It gives a different kind of hope to humanity and still leaves many unanswered questions. It eventually gets us all: evil ones, meek ones, righteous ones and cynical ones. We only hope it will release us into something eternally good and not turn into perpetual punishment for our ignorance. September 2, 2008

One of the best movies ever made

For me, the Seventh Seal, along with Casablanca, is one of the best movies ever made. In terms of asking the question, "Is there meaning in life and Is there a God?," no other film dares to so boldly ask such questions and give such existential answers. There appears to be a Mother Mary and a Christ Child, but there's also Death in this film, and Death, disguised as Clergy, or with the help of ignorant people as well as the clergy, tortures people wholesale in this film. Each person in this film tries to find meaning in his or her own way, as a Knight playing chess with Death tries to find the meaning of his life, before losing and dying to Death at the end of the chess match. At first, the Knight, Antonius Block, appears to have the upper hand in the match, as we do when we feel young and strong, but by the end of the film, as near the end of our lives, Death has the upper hand. In the end, the Knight finds meaning by appearing to help a young family escape Death, but I'm not sure if Death made it appear that Death lost the family just to let the Knight have some meaning before his own end. I highly recommend the film in case you haven't already seen it if you wish to explore these religious questions of meaning and "Does God exist?," all mixed in with life during the Middle Ages with a Crusade, and a Plague to boot to get people to thinking. . .Don't be put off that the film has sub-titles. Once you get used to reading them, they can be quite funny. Worth watching and worth owning, particular the Criterion Collection, because of the work they have done to restore the original film. Definitely a must see. July 7, 2008

One of the Greats

Religious allegory is packed into this film. It is definitely one of the great films. July 1, 2008

The Seventh Seal - Criterion Collection

Just aweful! Can't figure out why it's so much talked about! Boring and stifled and far too slow!! May 27, 2008

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