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28 of 30 people found the following review helpful:
5.0 out of 5 stars
One of the definitive pinnacles of twentieth century cinema., 30 Jul 2007
I'm writing this review having just learned of the death of Ingmar Bergman at the age of 89. It's fitting then that I should now return to a particular work that the legendary filmmaker wrote and directed fifty years ago, which expresses in explicit and philosophical detail, his overriding fear of death, and how this particular fear is one that is has been used and exploited for centuries by the Church for it's personal and ideological gain. As a result, The Seventh Seal can be described as an abstract allegory pertaining to the notion of life and death, as an expressionist horror film rife with iconic imagery and a foreboding atmosphere of Medieval torment and savage, plague-ridden doom, or as an almost sardonic satire on the catholic church, on war, and on organised religion in general.
I suppose at this point in time the film is most famous for it's central motif, in which a noble knight returning home from the crusades plays a series of chess games with the black-clad figure of death in an attempt to win back his life and return to his family. The games appear at different intervals throughout the film, which is structured episodically, taking in a scene of tranquil reflection and eventual performance from a group of travelling actors, the appearance of a religious procession marking a disease ridden town as unclean, and a scene in which a young woman is burned at the stake as a heretic. Thusly, the film is structured to become darker and more foreboding as our central character and his assistant make their way closer to home; taking the travelling actors along with them and trying to cheat death at every single turn.
Even without that central motif and iconic series of shots in which the knight, Antonious Block sits cross-legged across from the grinning, white-faced visage of Death and tries desperately to best him with every trick in the book, the film would still be a completely fascinating experience from beginning to end.
Speaking personally, I first saw the film at the age of 18, having already seen Bergman's more difficult films, Persona and The Hour of the Wolf. Both of these films confused, confounded and greatly irritated me on first viewing, almost turning me off Bergman before I'd even been turned on. Later, I saw the underrated Virgin Spring and my faith was somewhat restored. Regardless, I came to The Seventh Seal expecting the worst; expecting some sort of seemingly ponderous bleak essay, filled with all manner of alienating cinematic tricks and a detached quality to the writing. Instead, I found a film that told a fascinating story, had marvellous characters, and was beautifully shot, edited and scored throughout. Above all else, though; the film was entertaining. It's still as bleak as Bergman is known to be, but the story never drags, and the moral of the piece never becomes too obviously. It is simply a great film; one that I could watch again and again and still find elements to enjoy on a number of different levels.
Even after my first viewing I could understand how it's legacy had endured over forty-so years; with the ideas behind the plot, the power of the imagery and the integrity of the performances creating something that is entirely universal. This isn't one of those films that you can consign to the rubbish bin marked "art house extravagance", or even as being part of the ponderous pretentious image that many people have of Bergman as the stereotypical, black beret, polo-neck wearing intellectual who crafted bleak, expressionist art dramas in retina-scorching black and white, and ladled with bursts of torturous religious guilt and searing personal angst.
For me, it's one of the greatest entries into the pantheon of twentieth century cinema you could ever hope to find (and that definitely isn't hyperbole). A continually beguiling, rewarding, interesting and sympathetic drama that weaves numerous strands and sub-textual layers of personal reflection, satire, philosophy, performance and the art of cinema itself without ever becoming preachy, affected, or disappearing up its own back passage. As I said before, it is simply a GREAT film; one that should be experienced by all admires of cinema in it's purest form, and not simply as a two-hour diversion while you forget the complexities of life. The Seventh Seal, like all great works of cinema, asks its audience to approach with an open mind and to actively question the philosophical and satirical points that it raises throughout, whilst rewarding you with a great drama, with great performances, great direction and a number of seriously unforgettable images.
INGMAR BERGMAN (1918-2007)
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5 of 5 people found the following review helpful:
5.0 out of 5 stars
INGMAR BERGMAN'S CLASSIC GETS A RE - RELEASE, 31 Dec 2007
On July 30, Death finally called checkmate on Ingmar Bergman. Thats the only way to put it, really, given that Bergman's shot of the Grim Reaper playing chess against Max Von Sydow in The Seventh Seal has become one of the most iconic images in cinema history.
But at the time of it's release, the film's influential reputation was not a foregone conclusion. When it premiered at Cannes in 1957, the film only took Special Jury Prize, loosing out to William Wyler's Quaker drama Friendly Persuasion for the Palme D'Or.
The Seventh Seal is vital because it marked the point where the director stopped being merely a cog in the film industry production line and became and artist whose personal obsessions and stylistic techniques were as important as the stories they told. Almost single handedly Bergman raised the status of post War cinema as an art form and The Seventh Seal is arguably his finest work.
In the film, medieval knight Antonius Block returns from the Crusades, undertaken as a test of religious faith, still struggling with doubt over the excistence. In his plague ridden homeland, the knights humanity manifests itself by protecting a couple of travelling players and their baby son from the imposing figure of Death. This medieval road movie has endured for 50 years because it examines a timeless theme - eternal life or eternal void.
Bergman died on the island of Faro.
The DVD has an upgraded picture transfer and subtitling makes this 50th anniversary special edition the DVD version to buy for Bergman novices (as does the alternative American English dubbed soundtrack). Elsewhere the quality over quantity as far as extras are concerned. Die hard fans might want to shell out again, given the inclusion of Bergman's rare 1984 short Karin's Face, which chronicles the life of the director's mother through a montage of family portrait photograpths. Meanwhile, Ian Christies knowledgeable commentary over 14 minutes of Seventh Seal on location footage convays more about casting, themes and director biography than most feature length efforts.
So if you already own this then its worth buying again and either way this timeless classic must be in your film DVD collection
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18 of 27 people found the following review helpful:
5.0 out of 5 stars
It gets my seal of approval ., 28 Jul 2007
The Seventh Seal is the sort of existential highbrow film that would normally have me chewing my own tongue in frustration, boredom or a queasy mixture of both .Except Ingmar Bergman's 1957 allegorical masterpiece is a true rarity , a film that dwells on profound and sombre subject matter and yet one that that never preaches, patronises or worst of all becomes tiresome. Plus- shot in a gorgeous black and white it contains some truly astounding cinematic imagery
Bergman developed the film from his own play "Painting On Wood" and the films title alludes to the passage from the Book of Revelation used at the start and near the end of the film. It see's medieval knight Antonius Block(Max Von Sydow) and his squire Jons (Gunner Bjorstrand) returning home from the Crusades to find his homeland ravaged by the plague .Death (Bengt Ekerot) has come for him ,but in order to assuage the inevitable the knight challenges Death to a game of chess in the hope it will buy him enough time to make it home. As Block travels he encounters several different characters and questions the existence of a god that would allow his country to be desolated so.
The knight , his faith in God tested by the depredation of war is seeking some affirmation that God exists .As he says to a hooded figure in a church who turns out to be Death" I want God to put out his hand , show his face, speak to me ". Block is asking the questions that troubled Bergman himself, railing against his Lutheran up-bringing and bringing adult cynicisms into play.
Bergman also brings a surrogate holy family into the script, with the family of Jof ( Nils Poppe) ,his wife Mia(Bibi Andersson) and their young son Mikael.Jof has a simple untarnished faith , he can see Death too, but when he see's the Virgin Mary walking in a field , only he is able to perceive her. Block riddled with doubt , not knowing whether heaven or hell are real never gets to see her.
The only respite from this existential ruminating comers when he shares a simple meal of milk and strawberries with the family in a scene with clear Eucharistic overtones but his belief is further tested by the fact that all the religious figures in the film are offering people no spiritual comfort, indeed they are enhancing the terror evinced by the plague. A witch is burned at the stake under the assumption that she has propagated the plague .Medieval society is seen as one dealing with death in curious , superstitious ways , the penitence of flagellators , the witch, but the one person in the movie who is capable of having compassion and empathy for those who do not share his ideals is The Squire .Block meanwhile though stoic , thrashes around in some tightening secular vacuum , too absorbed by his introspection to connect with any one else." My Indifference to men has shut me out" he cries.
Bergman doesn't tip his hat one way or the other as to whether he sides with Jof or Block , though the films existence sort of implies his sympathies lay with the knight .However he clearly draws some comfort from the families life because Block gives his life final meaning by leading Death away in a medieval dance so the young family can escape.
The Seventh Seal is a truly unforgettable film , much parodied it contains some remarkable images ,and looks stunning even now. Despite its reputation as high -art film making , and it undoubtedly is that , it's far more approachable and human than many films of that ilk and it's apparent conclusion that there is no heaven , no hell just death and then oblivion is one that I have always shared. Antonius Block see's it differently "If that is true then all of life is a senseless horror" he says yet the belief that that something or other is waiting for us the other side of this mortal coil has caused more senseless horror than even he could imagine.
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