The Virgin Spring-1960

The Virgin Spring-1960

Director Ingmar Bergman

Starring Max von Sydow, Birgitta Valberg

Scott’s Review #243

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Reviewed May 15, 2015

Grade: A

The Virgin Spring is a quiet masterpiece by director Ingmar Bergman.

A Swedish language film, it won the Best Foreign Language Oscar in 1960, surprising for such a dark film.

I have heard about this film for years, but it had alluded me up until this point, and I am finally glad that I viewed it. It is breathtaking and mesmerizing.

A unique film for many reasons, it inspired “revenge” films to follow, specifically The Last House on the Left and I Spit on Your Grave, which is a horror film, yes, while The Virgin Spring is interestingly an art film.

The film also questions morals and the main character’s religious beliefs and reflections on guilt.

The filming is in black and white and the first point that struck me about the film is its gorgeous cinematography and lighting. The brilliant deep contrast of black and white with the illumination of a character’s face while the background is death black is very brazen and reminiscent of Citizen Kane.

It gives the film warmth and glow that contrast perfectly with the bleak subject matter.

The story of The Virgin Spring is a tragedy, yet the filming is so magnificent that it was not until the film concluded and I pondered the actual story that I realized just how horrific it truly is. And that is what Bergman was going for-provoking a thought.

This is not a film to kick back and be entertained while munching a tub of popcorn. It is a film meant to make one think.

An affluent Swedish couple, who owns a farm, lives a peaceful, quiet existence. They are stellar members of their community and church. They are humble, but they can afford to have servants.

They have a beautiful and pampered young daughter named Karin, who is sent to deliver candles to their church one sunny day. Karin is a trusting, virginal, and proper girl. She comes upon a trio of males- two adults and a young boy.

At first, gleefully sharing food with them and enjoying her newfound friends, they soon turn on her and she is viciously raped, robbed, beaten, and murdered.

The look of surprise, pain, and horror on Karin’s face is monumental. As this occurs, a pregnant and spiteful servant, Ingeri, watches in horror from a hiding place. A rival of Karin’s, Ingeri wanted misfortune thrust upon Karin, but as she watches in horror, the expressions on her face portray regret.

As the family hopes and prays that they can find the missing Karin, the men, and boy show up at the farmhouse in need of food and shelter.

Unbeknownst to the family, they are Karin’s rapists and killers, and once the truth is known, the once-sweet parents are out for brutal revenge. The young boy of the trio is guilt-ridden and physically sick from the circumstances.

Is the family’s revenge justified or should they (as good Christians) forgive? This is the moral point of the story.

The conclusion of the film is powerful as the father begs God for forgiveness. He questions his actions. But is he a changed man?

Bergman uniquely and intelligently shoots these scenes with only the father’s back in view as he throws his hands to go. We, the viewer, become one with the father in these moments, which makes for powerful storytelling.

Influential to many subsequent films, The Virgin Spring (1960) is a powerful tale, reminiscent of a fairy tale, that makes the viewer think about the ending.

Subdued yet horrifying, it is meant to be viewed and analyzed.

Oscar Nominations: 1 win-Best Foreign Language Film (won), Best Costume Design, Black-and-White

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