Max-von-Sydow Movie Reviews

This is one great movie. I would recommend it to anyone interested in American or Swedish/scandinavian history.

Well worth a million bucks (or star rating) and is the richest realization of pioneer experience ever put to film. The pacing, the cinematography, the patient character development or rather continuation of character unfolding that began with the prequel 'the emmigrants', is an enriching study of human personality in its most basic social and natural settings, ie. real human beings tied to the land and to each other out of fundamental necessity. Every detail of the journey west is bathed in vivid realism. The difficulties of travel and communication continue in this new land until homes are built and lives and cultural ties re-established to replace ones left behind. The enduring marital bond between Max Von Sydow and Liv Ulman's characters,(Oscars aren't good enough) the desire for that better life which drew them to the paradise of Minnesota where the miseries of Indians who must share land that was once their own are soon realized. The youthful will to explore and prosper that cannot be suppressed in Max's younger brother whose artistic temperment misfits him for farm life and drives him to the gold of California and his destiny is one of the most stark and poetic depictions of a sensitive life in the wild west ever portrayed. If you want to know what it was like to have been there- watch this film. Anyone with a shred of curiousity or empathetic appetite for the struggles and accomplishments of our ancestors will be well satisfied with this rare feast of pioneer life. I can only hope the eventual transfer to DVD will do justice to the cinematographic beauty this profound film possesses and deserves.

This and The Emigrants tells the story of Scandinavian settlers in the upper midwest. It was made in the later part of the Nixon administration, and the Swedish director threw in a few apt shots at America and her heritage. But it and The Emigrants still tell the story of people who came here for a better life, and how they more or less found it.

Not exactly a competitor for the Die Hard or Lethal Weapon series.

Ingmar Bergman's best films give the viewer the feeling of participating in a rite. Its rhythms are less those of conventional narrative, than of theatre or a religious procession, say. As with rites, the appeal is not to the viewer's intellect; their effect is both sensual and spiritual, troubling precisely because we can't put our finger on that appeal.

Of course, this requires a kind of faith, and is open to charges of manipulation, precisely the theme of 'The Magician', a splendid slice of unnerving Grand Guignol horror, where a rather academic argument between the Enlightenment values of sceince, reason and empiricism confront those of superstition, magic and the inexplicable. These latter values might be called medieval, pre-Renaissance, and we are reminded that the modern theatre developed in this period from the Church, from rites and passion plays. this is the kind of effect 'The Magician' has, visually and tonally.

The argument is not between the doctor and the mesmerist, but between the film's surface narrative (which, as an argument, promotes the predominance of reason) and the film's form (which destroys every attempt at argument). Everything within the film that seems to derive from supernatural forces can all be ascribed, more or less, to rational causes, for example psychological weakness; even if it is this very weakness, that border between what we know and what we can't know, in which the mesmerist exists. Although we might say 'Ah, it's only a delusion', the very fact that these self-generated delusions can convincingly take the place of safe, everyday reality, can become that reality, suggests the limits of rationality, without any recourse to the supernatural.

The shams of actors, con-men, misanthropes pretending to be mute, women pretending to be men might all be illusions which, once exposed, can restore the status quo; but once the idea has been suggested that a boundary can be crossed, that an illusion can be real, than a system based on those boundaries is undermined.

In a film where actors pretend to be what they're not, whose narrative proceeds like theatre and climaxes with a theatrical spectacle, Bergman's technique can be called a charade - e.g. the haunting trip through an eerie forest, the fog streaming in the sunlight like a magical gateway; the terrifying attack on the doctor in a surrealist attic, are all an illusion to give us a sensation, but they also undeniably reveal a world for us that lives with us and which we never acknowledge. As ever with Bergman, it is only with acting, deception and illusion, not ational argument and empirical evidence, that we can even begin to approach the truth.

I enjoyed this film immensely. I discovered this film by accident, yet I was surprised by Bergman's visual intensity and sly metaphor. Where one filmmaker might tell a simple tale of a magician maligned by suspicious citizens, Bergman takes this idea further. His is the story of a visionary, who having first gained the favor of a town, is later reviled for awakening their self-awareness. And, when the man is cast from town, seemingly as a penniless drifter, he creates his best illusion of all. Bergman is well-known for his use of relgious metaphor, and this film attests to his genius. I won't offer my conclusions, but leave this discovery to the pleasure of the viewer.

Ingmar Bergman's best films give the viewer the feeling of participating in a rite. Its rhythms are less those of conventional narrative, than of theatre or a religious procession, say. As with rites, the appeal is not to the viewer's intellect; their effect is both sensual and spiritual, troubling precisely because we can't put our finger on that appeal.

Of course, this requires a kind of faith, and is open to charges of manipulation, precisely the theme of 'The Magician', a splendid slice of unnerving Grand Guignol horror, where a rather academic argument between the Enlightenment values of sceince, reason and empiricism confront those of superstition, magic and the inexplicable. These latter values might be called medieval, pre-Renaissance, and we are reminded that the modern theatre developed in this period from the Church, from rites and passion plays. this is the kind of effect 'The Magician' has, visually and tonally.

The argument is not between the doctor and the mesmerist, but between the film's surface narrative (which, as an argument, promotes the predominance of reason) and the film's form (which destroys every attempt at argument). Everything within the film that seems to derive from supernatural forces can all be ascribed, more or less, to rational causes, for example psychological weakness; even if it is this very weakness, that border between what we know and what we can't know, in which the mesmerist exists. Although we might say 'Ah, it's only a delusion', the very fact that these self-generated delusions can convincingly take the place of safe, everyday reality, can become that reality, suggests the limits of rationality, without any recourse to the supernatural.

The shams of actors, con-men, misanthropes pretending to be mute, women pretending to be men might all be illusions which, once exposed, can restore the status quo; but once the idea has been suggested that a boundary can be crossed, that an illusion can be real, than a system based on those boundaries is undermined.

In a film where actors pretend to be what they're not, whose narrative proceeds like theatre and climaxes with a theatrical spectacle, Bergman's technique can be called a charade - e.g. the haunting trip through an eerie forest, the fog streaming in the sunlight like a magical gateway; the terrifying attack on the doctor in a surrealist attic, are all an illusion to give us a sensation, but they also undeniably reveal a world for us that lives with us and which we never acknowledge. As ever with Bergman, it is only with acting, deception and illusion, not ational argument and empirical evidence, that we can even begin to approach the truth.

I enjoyed this film immensely. I discovered this film by accident, yet I was surprised by Bergman's visual intensity and sly metaphor. Where one filmmaker might tell a simple tale of a magician maligned by suspicious citizens, Bergman takes this idea further. His is the story of a visionary, who having first gained the favor of a town, is later reviled for awakening their self-awareness. And, when the man is cast from town, seemingly as a penniless drifter, he creates his best illusion of all. Bergman is well-known for his use of relgious metaphor, and this film attests to his genius. I won't offer my conclusions, but leave this discovery to the pleasure of the viewer.

Set in rural Sweden in the late 1800's, "The Ox" (original Swedish title "Oxen") is an insightful period film starring Stellan Skärsgard, Liv Ullman, and Max Von Sydow, and is directed by Sven Nykvist.

The main character (Skärsgard) is driven by hunger to kill and butcher the land-owner's ox for his family, and must then deal with the consequences of his wrong-doing. For insight into the Swedish immigration into the U.S., this movie makes a wonderful chronological predecessor to the film "The Emmigrants", starring Max von Sydow, which became the basis for the story "Unto a New Land", which was adapted to the U.S. TV series "Little House on the Prairie". In Swedish with English subtitles.

This movie takes you to the core of humanity and shows how intolerant men can become. Superb performances by all especially by Stellan Skarsgard.

I saw this movie and it twisted my emotions a bit. It surprised me and left me with an aftertaste. If you like the pace and texture of Merchant-Ivory productions, see this. It isn't Merchant-Ivory, but similar in feel.

Pelle the Conqueror is an utterly flawless film with regards to acting, cinematography, score, storytelling, etc. It won Best Foreign Film honors at the Academy Awards and was even nominated for Best Picture. Of course, the politics of Hollywood could never have allowed it to claim that honor, otherwise a precedence would have been set of acknowledging that foreign films might be (gasp!) better than a lot of the [stuff] Tinseltown shovels out.

Personally, I watched the Oscars that year exclusively to cheer for Pelle the Conqueror and even more specifically for Max Von Sydow, who turned in the performance of a lifetime. From the moment I began watching the film to the moment it ended, I never lost my sense of absolute immersion. It was, in truth, a grueling experience... because like so many Scandinavian films, Pelle is not a "feel good" story and doesn't have a happy ending. It doesn't have a happy beginning or middle, either. I'm straining my memory to remember a full happy minute, actually. Max Von Sydow is so thoroughly convincing as the widower father of 12-year-old Pelle Hvenegaard that I couldn't help but bear his anguish as all his hopes for a better life for his son get trampled. Even though I was fairly young when the film came out, Von Sydow led me to understand a poor father's burden. When I saw this movie in the theater in 1988, I was told by a friend it was "part one" and that the subsequent film would give viewers a little more resolution as young Pelle escapes to try to reach America... I waited and waited for that sequel, because I believed in these characters and wanted a better life for them; that's how powerful the film was to me.

So why only 4 stars? Because the DVD (to date -- these things sometimes change) does not contain the whole film. 22 minutes were hacked from the original to fit into American time slots, and they were inexplicably not restored when the film went to DVD. The DVD also lacks special features such as "making of," background story, director's comments, etc. that would have been fascinating, especially considering this is such an epic foreign film from a country American viewers know so little about.

Max von Sydow magnificently plays a certain type of Scandinavian man, maybe his best film of the ones I've seen. I saw the movie when it came out, remembered it as fantastic but forgot the details, then watched the video again recently. Tried to watch it with my 7 and 12 year old sons, but the older one couldn't take it: too much sadness. The theme of the movie: unfathomable human cruelty, that 'happiness' is only an illusion. How to know that the movie was filmed on Bornholm? The Rundkirk in a burial scene.

The story behind this movie was very touching. My Great-Great Grandfather went AWOL and came to America about the time this movie is set. The movie helped reveal to me why my family carries some of the attitudes it has and why he stopped speaking Danish or speaking of Denmark the day he stepped on American soil. This movie is a must for anyone of Scandinavian ancestry.

This film shows 24 hours with Karin, her husband, father, and younger brother. They are staying at a remote vacation house on the water. Karin is suffering from schizophrenia, and hears voices that tell her that He is coming. This is a powerful, gripping film that explores themes of love, meaning, and the existence of God. The novelist father is focussed on his work, and usually maintains emotional detachment from his children--except when he is sobbing, deep in despair. Karin's husband is blithly unaware of his own heart, striving to be perfect on the surface. Her brother is young and confused, hurt by her evil use of him, and longing for love from his father. Karin is played by Harriet Andersson, who captures well the tormented woman, who goes in and out of the world lived by the men in her life. The cinematography is stunning, and the background music (cello?) is used sparingly, but with great effect. One theme of the film seemed to be this: To one who does not believe in God, those with religious beliefs will seem to be like Karin--out of touch with reality, and unable to live with the normal pain of living a life without purpose. I'm sure Bergman felt like that, having rejected the religious beliefs of his pastor father. Too bad he didn't search past the god of his father for the God of Jesus Christ.

Brilliant study of insanity set on the bleak island landscapes off the coast of Sweden. Writer/director Ingmar Bergman philosophically probes and questions man's relation to God through the tortured eyes of an emotionally disturbed young woman, haunting played by Harriet Andersson. Her husband, father and brother - superbly portrayed by Gunnar Bjornstrand, Max Von Sydow and Lars Passgard - share the island with her for a summer, and experience a devastating descent into hell as Anderston goes beyond the brink. Deservedly received two Academy Awards, for best foreign-language film and best story and screenplay written directly for the screen.

(revised 8/3/02)
Ignore this film at your peril.

It is all too educational and necessary. . .

. . .all I would put forward has been asserted here by the four other reviewers. I would add some caveats, however. If you only know Harriet Anderson from, say, "Smiles of a Summer's Night", you are in for some surprises. She is as adept in the strait-jacket role as she is in the circus-tent...

Perhaps too adept. It is interesting to see her here, ten years earlier than "Cries and Whispers", exhibiting the same superior abilities in adeptly losing control -- in a manner you will never forget. . .

The final scene in the battered, antiqued room with husband and father is not a good one for the pace-maker crowd. Be sure you've been eating your Wheaties and taking your vitamins. Director Bergman is, here as elsewhere, playing for keeps.
-moosbrugger

This film shows 24 hours with Karin, her husband, father, and younger brother. They are staying at a remote vacation house on the water. Karin is suffering from schizophrenia, and hears voices that tell her that He is coming. This is a powerful, gripping film that explores themes of love, meaning, and the existence of God. The novelist father is focussed on his work, and usually maintains emotional detachment from his children--except when he is sobbing, deep in despair. Karin's husband is blithly unaware of his own heart, striving to be perfect on the surface. Her brother is young and confused, hurt by her evil use of him, and longing for love from his father. Karin is played by Harriet Andersson, who captures well the tormented woman, who goes in and out of the world lived by the men in her life. The cinematography is stunning, and the background music (cello?) is used sparingly, but with great effect. One theme of the film seemed to be this: To one who does not believe in God, those with religious beliefs will seem to be like Karin--out of touch with reality, and unable to live with the normal pain of living a life without purpose. I'm sure Bergman felt like that, having rejected the religious beliefs of his pastor father. Too bad he didn't search past the god of his father for the God of Jesus Christ.

Brilliant study of insanity set on the bleak island landscapes off the coast of Sweden. Writer/director Ingmar Bergman philosophically probes and questions man's relation to God through the tortured eyes of an emotionally disturbed young woman, haunting played by Harriet Andersson. Her husband, father and brother - superbly portrayed by Gunnar Bjornstrand, Max Von Sydow and Lars Passgard - share the island with her for a summer, and experience a devastating descent into hell as Anderston goes beyond the brink. Deservedly received two Academy Awards, for best foreign-language film and best story and screenplay written directly for the screen.

(revised 8/3/02)
Ignore this film at your peril.

It is all too educational and necessary. . .

. . .all I would put forward has been asserted here by the four other reviewers. I would add some caveats, however. If you only know Harriet Anderson from, say, "Smiles of a Summer's Night", you are in for some surprises. She is as adept in the strait-jacket role as she is in the circus-tent...

Perhaps too adept. It is interesting to see her here, ten years earlier than "Cries and Whispers", exhibiting the same superior abilities in adeptly losing control -- in a manner you will never forget. . .

The final scene in the battered, antiqued room with husband and father is not a good one for the pace-maker crowd. Be sure you've been eating your Wheaties and taking your vitamins. Director Bergman is, here as elsewhere, playing for keeps.
-moosbrugger

'The Virgin Spring' is a good story about a father trying to avenge the rape and murder of his daughter. It is a good story, but not something which will blow your mind.

The similarities between In the Bedroom and The Virgin Spring are uncanny, considering that Bedroom is not based on this story of a parental revenge. I've seen The Virgin Spring several times and I never get tired of it. There is always something new to discover in it. When Ingmar Bergman is good, he is great. When he is great, he is incomparable. This is one of his greatest creations. The black and white cinematography is stunning. In addition to the visual beauty of this film, the story is so compelling, so devastating ultimately, that I defy anyone who
does not cry from the soul in the end. This is a movie made by a master. It is one of the two or three best movies about the so-called dark ages that I have seen. One of the others is The Seventh Seal, also by Bergman coincidentally, which explores life, death, faith, justice, cruelty, revenge, and, of course the transcendental power of love. In The Virgin Spring, Bergman explores all of these and other related themes with such brilliance that he has managed to create a film that is completely entertaining, enlightening and spiritually uplifting. I can't boast about it enough. Do yourself a favor and get this movie, I assure you you will never forget it!

This is the only foreign movie to win an Academy Award. Its in stark black and white during Medieval times. Lots of Pagan imagery.
Max comes across as the Norse god Odin full of vengeance. He's
down right scary when he goes after the 3 who raped and murdered his beautiful daughter.
You won't be able to take your eyes off that scene, or the rest of the movie for that matter.
This movie is an A+

'The Virgin Spring' is a good story about a father trying to avenge the rape and murder of his daughter. It is a good story, but not something which will blow your mind.

The similarities between In the Bedroom and The Virgin Spring are uncanny, considering that Bedroom is not based on this story of a parental revenge. I've seen The Virgin Spring several times and I never get tired of it. There is always something new to discover in it. When Ingmar Bergman is good, he is great. When he is great, he is incomparable. This is one of his greatest creations. The black and white cinematography is stunning. In addition to the visual beauty of this film, the story is so compelling, so devastating ultimately, that I defy anyone who
does not cry from the soul in the end. This is a movie made by a master. It is one of the two or three best movies about the so-called dark ages that I have seen. One of the others is The Seventh Seal, also by Bergman coincidentally, which explores life, death, faith, justice, cruelty, revenge, and, of course the transcendental power of love. In The Virgin Spring, Bergman explores all of these and other related themes with such brilliance that he has managed to create a film that is completely entertaining, enlightening and spiritually uplifting. I can't boast about it enough. Do yourself a favor and get this movie, I assure you you will never forget it!

This is the only foreign movie to win an Academy Award. Its in stark black and white during Medieval times. Lots of Pagan imagery.
Max comes across as the Norse god Odin full of vengeance. He's
down right scary when he goes after the 3 who raped and murdered his beautiful daughter.
You won't be able to take your eyes off that scene, or the rest of the movie for that matter.
This movie is an A+