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Beranda / Art Film Where Death Appears in a Town and Makes Religous People Riot

Art Film Where Death Appears in a Town and Makes Religous People Riot

1957 picture by Ingmar Bergman

The Seventh Seal
Seventhsealposter.jpg

Theatrical release poster
Directed by Ingmar Bergman
Screenplay by Ingmar Bergman
Based on Trämålning
past Ingmar Bergman (play)
Produced by Allan Ekelund
Starring
  • Gunnar Björnstrand
  • Bengt Ekerot
  • Nils Poppe
  • Max von Sydow
  • Bibi Andersson
  • Inga Landgré
  • Åke Fridell
Cinematography Gunnar Fischer
Edited by Lennart Wallén
Music by Erik Nordgren
Distributed by AB Svensk Filmindustri

Release date
  • xvi February 1957 (1957-02-16)

Running time

 96 minutes[1]
Country Sweden
Languages
  • Swedish
  • Latin
Budget $150,000[two]

The Seventh Seal (Swedish: Det sjunde inseglet ) is a 1957 Swedish historical fantasy motion-picture show written and directed by Ingmar Bergman. Set in Sweden[3] [4] during the Black Death, information technology tells of the journey of a medieval knight (Max von Sydow) and a game of chess he plays with the personification of Death (Bengt Ekerot), who has come up to have his life. Bergman developed the film from his own play Forest Painting. The championship refers to a passage from the Volume of Revelation, used both at the very first of the film, and again towards the cease, beginning with the words "And when the Lamb had opened the seventh seal, in that location was silence in heaven well-nigh the space of one-half an hour".[Rev. 8:1] Here, the motif of silence refers to the "silence of God", which is a major theme of the motion-picture show.[five] [half dozen]

The Seventh Seal is considered a classic of world cinema, besides as 1 of the greatest movies of all time. It established Bergman as a world-renowned director, containing scenes which have become iconic through homages, critical analysis, and parodies.

Plot [edit]

Disillusioned knight Antonius Cake and his cynical squire Jöns return from the Crusades to detect the land ravaged past the plague. The knight encounters Expiry, whom he challenges to a chess match, believing he tin survive as long as the game continues. The game they start continues throughout the story.

Expiry and Antonius Block cull sides for the chess game

The knight and his squire pass a caravan of actors: Jof and his wife Mia, with their infant son Mikael and actor-manager Jonas Skat. Waking early on, Jof has a vision of Mary leading the infant Jesus, which he relates to a smilingly-disbelieving Mia.

Block and Jöns visit a church where a fresco of the Danse Macabre is beingness painted, and the squire chides the creative person for colluding in the ideological fervor that led to the crusade. In the confessional, Block tells the priest he wants to perform "1 meaningful deed" after what he now sees as a pointless life. Upon revealing to him the chess tactic that will save his life, the knight discovers that information technology is actually Decease with whom he has been speaking. Leaving the church, Cake speaks to a young woman condemned to be burned at the stake for consorting with the devil. He believes she will tell him virtually life beyond death, only to observe that she is insane.

In a deserted hamlet, Jöns saves a mute servant girl from being raped by Raval, a theologian who ten years earlier persuaded the knight to join the Crusades and is now a thief. Jöns vows to destroy his face if they run into again. Jöns kidnaps the servant girl and they go into town, where the actors are performing. There, Skat is enticed away for a tryst by Lisa, married woman of the blacksmith Plog. The stage show is interrupted past a procession of flagellants led by a preacher who harangues the townspeople.

At the town's inn, Raval manipulates Plog and other customers into intimidating Jof. The bullying is cleaved up by Jöns, who slashes Raval's face. The knight and squire are joined by Jof'due south family and a repentant Plog. Block enjoys a picnic of milk and wild strawberries that Mia has gathered and declares, "I'll carry this retentiveness between my hands every bit if information technology were a bowl filled to the brim with fresh milk... And information technology will be an adequate sign — it will be enough for me."

Cake now invites Plog and the actors to shelter from the plague in his castle. When they meet Skat and Lisa in the forest, she returns to Plog, while Skat fakes a remorseful suicide. As the grouping moves on, Skat climbs a tree to spend the night, but Expiry appears beneath and cuts down the tree.

Meeting the condemned woman being drawn to execution, Block asks her to summon Satan and so he can question him about God. The girl claims she has washed so, simply the knight only sees her terror and gives her herbs to have away her pain as she is placed on the pyre.

They encounter Raval, stricken by the plague. Jöns stops the retainer girl from uselessly bringing him water, and Raval dies solitary. Jof tells his wife that he can see the knight playing chess with Decease and decides to flee with his family, while Block knowingly keeps Decease occupied.

As Expiry states "No one escapes me", Block knocks the chess pieces over but Death restores them to their identify. On the next move, Expiry wins the game and announces that when they meet once more, it will be the final fourth dimension for all. Death and then asks Cake if he achieved the "meaningful deed" he wished to attain and the knight replies that he has.

Block is reunited with his wife and the party shares a final supper, interrupted by Decease'south inflow. The rest of the party so introduce themselves, and the mute servant daughter greets him with "It is finished."

Jof and his family have sheltered in their caravan from a storm, which he interprets equally the Angel of Expiry passing past. In the morning, Jof'southward 2d sight allows him to see the knight and his companions being led abroad over the hillside in a wild Dance of Expiry.

Cast [edit]

  • Gunnar Björnstrand – Jöns, squire
  • Bengt Ekerot – Death
  • Nils Poppe – Jof
  • Max von Sydow – Antonius Cake, knight
  • Bibi Andersson – Mia, Jof's wife
  • Inga Landgré – Karin, Block'south wife
  • Åke Fridell – Blacksmith Plog
  • Inga Gill – Lisa, blacksmith's wife
  • Erik Strandmark – Jonas Skat
  • Bertil Anderberg – Raval, the thief
  • Gunnel Lindblom – Mute girl
  • Maud Hansson – Witch
  • Gunnar Olsson – Albertus Pictor, church building painter
  • Anders Ek – The Monk
  • Benkt-Åke Benktsson – Merchant
  • Gudrun Brost – Maid
  • Lars Lind – Immature monk
  • Tor Borong – Farmer
  • Harry Asklund – Inn keeper
  • Ulf Johanson – Jack's leader (uncredited)

Product [edit]

Ingmar Bergman originally wrote the play Trämålning (Wood Painting) in 1953 / 1954 for the acting students of Malmö City Theatre. Its first public performance, which he directed, was on radio in 1954. He also directed information technology on stage in Malmö the next spring, and in the autumn it was staged in Stockholm, directed by Bengt Ekerot, who would later on play the grapheme Death in the film version.[vii]

In his autobiography, The Magic Lantern, Bergman wrote that "Forest Painting gradually became The Seventh Seal, an uneven film which lies close to my eye, considering it was made under difficult circumstances in a surge of vitality and delight."[eight] The script for The Seventh Seal was commenced while Bergman was in the Karolinska Hospital in Stockholm recovering from a stomach complaint.[nine] It was at first rejected[10] by Carl-Anders Dymling, head of Svensk Filmindustri and Bergman was given the become-ahead for the project from Carl-Anders Dymling only afterwards the success at Cannes of Smiles of a Summertime Night.[xi] Bergman rewrote the script five times and was given a schedule of merely thirty-five days and a budget of $150,000.[2] It was to be the seventeenth moving-picture show he had directed.[12]

All scenes except 2 were shot in or around the Filmstaden studios in Solna. The exceptions were the famous opening scene with Death and the Knight playing chess by the sea, and the catastrophe with the dance of death, which were both shot at Hovs Hallar, a rocky, sharp beach surface area in north-western Scania.[13]

In the Magic Lantern autobiography Bergman writes of the picture's iconic penultimate shot: "The image of the Dance of Death beneath the dark cloud was achieved at hectic speed because about of the actors had finished for the twenty-four hours. Assistants, electricians, and a make-upwardly human and about two summer visitors, who never knew what it was all most, had to apparel up in the costumes of those condemned to decease. A photographic camera with no sound was ready upwardly and the picture shot before the cloud dissolved."[14]

Portrait of the Middle Ages [edit]

Medieval Sweden as portrayed in this movie includes creative anachronisms. The flagellant movement was foreign to Sweden, and large-scale witch persecutions only began in the 15th century.[15] In addition, the main flow of the Crusades is well earlier this era; they took place in a more optimistic menstruation.[sixteen]

With regard to the relevancy of historical accurateness to a film that is heavily metaphorical and allegorical, John Aberth, writing in A Knight at the Movies, holds

the picture show but partially succeeds in conveying the period temper and thought world of the fourteenth century. Bergman would probably counter that information technology was never his intention to make an historical or period film. As it was written in a program note that accompanied the film's premier "It is a modern verse form presented with medieval material that has been very freely handled... The script in item—embodies a mid-twentieth century existentialist angst... All the same, to be fair to Bergman, one must let him his artistic license, and the script's modernisms may be justified every bit giving the moving picture's medieval theme a compelling and urgent gimmicky relevance... Nonetheless the moving-picture show succeeds to a large degree because information technology is set in the Middle Ages, a time that can seem both very remote and very immediate to us living in the mod globe... Ultimately The Seventh Seal should be judged as a historical picture by how well it combines the medieval and the modern."[17]

Similarly defending it every bit an allegory, Aleksander Kwiatkowski in the book Swedish Film Classics, writes

The international response to the flick which among other awards won the jury'due south special prize at Cannes in 1957 reconfirmed the writer'south high rank and proved that The Seventh Seal regardless of its caste of accuracy in reproducing medieval scenery may be considered as a universal, timeless allegory.[xviii]

Much of the film's imagery is derived from medieval art. For example, Bergman has stated that the epitome of a man playing chess with a skeletal Death was inspired past a medieval church painting from the 1480s in Täby kyrka, Täby, north of Stockholm, painted past Albertus Pictor.[19]

Generally speaking, historians Johan Huizinga, Friedrich Heer and Barbara Tuchman have all argued that the late Centre Ages of the 14th century was a period of "doom and gloom" like to what is reflected in this film, characterized by a feeling of pessimism, an increase in a penitential style of piety that was slightly masochistic, all aggravated past diverse disasters such as the Blackness Death, famine, the Hundred Years' State of war betwixt France and England, and the Papal schism.[16] This is sometimes chosen the crisis of the Tardily Middle Ages, and Tuchman regards the 14th century equally "a distant mirror" of the 20th century in a way that echoes Bergman'south sensibilities.

Major themes [edit]

The title refers to a passage nearly the end of the globe from the Volume of Revelation, used both at the very start of the picture, and once more towards the end, beginning with the words "And when the Lamb had opened the seventh seal, there was silence in sky about the infinite of one-half an hour" (Revelation eight:one). Thus, in the confessional scene the knight states: "Is it so cruelly inconceivable to grasp God with the senses? Why should He hide himself in a mist of half-spoken promises and unseen miracles?...What is going to happen to those of united states of america who want to believe but aren't able to?"[20] Death, impersonating the confessional priest, refuses to respond. Similarly, later, as he eats the strawberries with the family of actors, Antonius Block states: "Faith is a torment – did you know that? It is like loving someone who is out there in the darkness just never appears, no matter how loudly you telephone call."[21] Melvyn Bragg notes that the concept of the "Silence of God" in the face of evil, or the pleas of believers or would-exist-believers, may be influenced by the punishments of silence meted out by Bergman'due south begetter, a clergyman in the Land Lutheran Church.[22] In Bergman'south original radio play sometimes translated as A Painting on Wood, the figure of Decease in a Dance of Death is represented not past an player, but by silence, "mere pettiness, mere absenteeism...terrifying...the void."[23]

Some of the powerful influences on the film were Picasso's motion picture of the two acrobats, Carl Orff's Carmina Burana, Strindberg'due south dramas Folkungasagan ("The Saga of the Folkung Kings") and The Road to Damascus,[24] the frescoes at Härkeberga church, and a painting by Albertus Pictor in Täby church.[2] Only prior to shooting, Bergman directed for radio the play Everyman by Hugo von Hofmannsthal.[2] Past this time he had also directed plays by Shakespeare, Strindberg, Camus, Chesterton, Anouilh, Tennessee Williams, Pirandello, Lehár, Molière and Ostrovsky.[25] The actors Bibi Andersson (with whom Bergman was in a human relationship from 1955 to 1959) who played the juggler's wife Mia, and Max von Sydow, whose part equally the knight was the first of many star parts he would bring to Bergman'due south films and whose rugged Nordic nobility became a vital resources within Bergman'south "troupe" of key actors,[26] both fabricated a stiff impact on the mood and style of the motion picture.

Bergman grew up in a home infused with an intense Christianity, his father beingness a charismatic rector (this may have explained Bergman's adolescent infatuation with Hitler, which later deeply tormented him).[27] As a six-year-quondam child, Bergman used to help the gardener bear corpses from the Royal Hospital Sophiahemmet (where his father was chaplain) to the mortuary.[28] When as a boy he saw the film Black Dazzler, the fire scene excited him so much he stayed in bed for 3 days with a temperature.[28] Despite living a Bohemian lifestyle in partial rebellion against his upbringing, Bergman ofttimes signed his scripts with the initials "Southward.D.1000" (Soli Deo Gloria) — "To God Alone the Glory" — just as J. Southward. Bach did at the stop of every musical composition.[29]

Gerald Mast writes:

"Like the gravedigger in Hamlet, the Squire [...] treats expiry as a bitter and hopeless joke. Since we all play chess with death, and since we all must suffer through that hopeless joke, the but question virtually the game is how long information technology will last and how well we will play it. To play it well, to alive, is to dearest and not to detest the torso and the mortal as the Church urges in Bergman's metaphor."[xxx]

Melvyn Bragg writes:

"[I]t is constructed like an statement. Information technology is a story told every bit a sermon might be delivered: an allegory...each scene is at once and then simple and then charged and layered that it catches us again and over again...Somehow all of Bergman'south ain past, that of his male parent, that of his reading and doing and seeing, that of his Swedish culture, of his political burning and religious melancholy, poured into a serial of pictures which acquit that great of contributions and contradictions so effortlessly that yous could tell the story to a kid, publish it as a storybook of photographs and yet know that the deepest questions of religion and the most mysterious revelation of just existence alive are both addressed."[31]

The Jesuit publication America identifies it as having begun "a series of 7 films that explored the possibility of religion in a post-Holocaust, nuclear age".[32] Also, film historians Thomas W. Bohn and Richard L. Stromgren place this movie as beginning "his cycle of films dealing with the conundrum of religious faith".[33]

Reception [edit]

Upon its original Swedish release, The Seventh Seal was met with a somewhat divided critical response; its cinematography was widely praised, while "Bergman the scriptwriter [was] lambasted."[34] The picture show won the Nastro d'Argento for Best Non-Italian Film in 1961.[ane] Swedish journalist and critic Nils Beyer, writing for Morgon-tidningen, compared it to Carl Theodor Dreyer's The Passion of Joan of Arc and Day of Wrath. While finding Dreyer's films to be superior, he still noted that "it isn't just any director that you feel like comparison to the former Danish master." He also praised the usage of the bandage, in particular Max von Sydow, whose character he described as "a pale, serious Don Quixote character with a face up every bit if sculpted in wood", and "Bibi Andersson, who appears as if painted in faded watercolours merely still can emit pocket-size succulent glimpses of female warmth." Hanserik Hjertén for Arbetaren started his review by praising the cinematography, but soon went on to draw the film as "a horror moving-picture show for children" and said that beyond the superficial, it is by and large reminiscent of Bergman's "sophomoric films from the 40s."[7]

Bergman's international reputation, on the other hand, was largely cemented by The Seventh Seal.[34] The flick ranked 2nd on Cahiers du Cinéma's Peak ten Films of the Year Listing in 1958.[35] Bosley Crowther had only positive things to say in his 1958 review for The New York Times, and praised how the themes were elevated by the cinematography and performances: "the profundities of the ideas are lightened and fabricated flexible by glowing pictorial presentation of action that is interesting and strong. Mr. Bergman uses his photographic camera and actors for abrupt, realistic effects."[36]

The film is now regarded as a masterpiece of cinema.[37] The Village Vocalism ranked The Seventh Seal at number 33 in its Tiptop 250 "All-time Films of the Century" list in 1999, based on a poll of critics.[38] The picture show was included in "The New York Times Guide to the Best ane,000 Movies E'er Made" in 2002.[39] Empire magazine, in 2010, ranked it the 8th-greatest motion picture of world cinema.[40] In a poll held by the same magazine, information technology was voted 335th 'Greatest Flick of All Time' from a list of 500.[41] In addition, on the 100th anniversary of cinema in 1995, the Vatican included The 7th Seal in its list of its 45 "swell films" for its thematic values.[42] The pic was included in film critic Roger Ebert'southward listing of "The Keen Movies" in 2000.[43] Entertainment Weekly voted information technology at No. 45 on their listing of 100 Greatest Movies of All Time.[44] In 2007, the flick was ranked at No. 13 by The Guardian's readers poll on the listing of "40 greatest foreign films of all time".[45] Indian motion-picture show maker Adoor Gopalakrishnan praised the film saying "One can watch 'Seventh Seal' even without subtitles equally it is near appealing to the eye."[46] In January 2002, the picture was voted at No. 82 on the list of the "Top 100 Essential Films of All Time" by the National Society of Motion picture Critics.[47] [48] In 2012, the film ranked 93rd on critic'southward poll and 75th on director's poll in Sight & Sound magazine's 100 greatest films of all time list. In the before 2002 version of the list the film ranked 35th in critic's poll[49] and 31st in director'southward poll.[50] Likewise in 2012 it was voted i of the 25 best Swedish films of all time by a poll of 50 film critics and academics conducted by film magazine FLM.[51] In 2018 the film was ranked 30th in BBC's list of The 100 greatest foreign linguistic communication films.[52] In 2021 the film was ranked at No. 43 on Time Out magazine's list of The 100 best movies of all fourth dimension.[53]

The film was selected every bit the Swedish entry for the All-time Foreign Language Film at the 30th Academy Awards, merely was not nominated.[54] [55]

On Rotten Tomatoes, the movie holds an approval rating of 94% based on 63 reviews, with an average rating of ix.xx/10. The website's critical consensus reads: "Narratively bold and visually striking, The Seventh Seal brought Ingmar Bergman to the world phase – and remains as as compelling today".[56] On Metacritic, the picture show has a rating of 88/100 based on 15 reviews, indicating "universal acclaim".[57]

Influence [edit]

The Seventh Seal significantly helped Bergman in gaining his position as a world-course managing director. When the motion-picture show won the Special Jury Prize at the 1957 Cannes Motion-picture show Festival,[58] the attention generated by it (along with the previous year's Smiles of a Summer Nighttime) fabricated Bergman and his stars Max von Sydow and Bibi Andersson well known to the European motion-picture show community, and the critics and readers of Cahiers du Cinéma, among others, discovered him with this movie. Within five years of this, he had established himself every bit the outset real auteur of Swedish cinema. With its images and reflections upon death and the meaning of life, The Seventh Seal had a symbolism that was "immediately apprehensible to people trained in literary civilisation who were just first to discover the 'fine art' of film, and it apace became a staple of loftier school and college literature courses... Unlike Hollywood 'movies,' The Seventh Seal clearly was aware of elite creative civilisation and thus was readily appreciated past intellectual audiences."[59]

Film and goggle box [edit]

The representation of Death every bit a white-faced man who wears a dark cape and plays chess with mortals has been a pop object of parody in other films and television set.

Several films and comedy sketches portray Death as playing games other than or in addition to chess. In the final scene of the 1968 film De Düva (mock Swedish for "The Dove"), a 15-minute pastiche of Bergman's work generally and his Wild Strawberries in particular, the protagonist plays badminton confronting Death, and wins when the droppings of a passing dove strike Death in the eye. The photography imitates throughout the style of Bergman'due south cinematographers Sven Nykvist and Gunnar Fischer.[60]

Popular music [edit]

The moving picture is referred to in several songs. The plot is recapitulated in Scott Walker's "The Seventh Seal" from his anthology Scott 4.[61] In that location is a passing reference in Bruce Cockburn'south song "How I Spent My Autumn Vacation", from his anthology Humans, in which the song's narrative is bracketed by two immature men watching the flick in a picture palace.[62] On Atomic number 26 Maiden'south album Dance of Death (2003), the title rail was inspired past the terminal scene of The 7th Seal where, according to guitarist Janick Gers, "these figures on the horizon beginning doing a piddling jig, which is the dance of death."[63]

Opera [edit]

In 2016, composer João MacDowell premiered in New York City at Scandinavia House the music for the kickoff act of The Seventh Seal, a piece of work in progress under contract with the Ingmar Bergman Foundation, sung in Swedish. The work was under production by the International Brazilian Opera (IBOC) as part of the celebrations for the Ingmar Bergman centenary in 2018.[64] [65] [66] [67]

The posters for the opera with photography past Athena Azevedo and design by Toshiaki Ide and Hisa Ide, featuring dancer Eliana Carneiro, in a collaboration work by the International Brazilian Opera (IBOC) and IF Studio LLC, have won multiple prizes in the Graphis Inc. International Competition, including double Platinum in the Affiche and Design categories.[68] [69]

Run across also [edit]

  • A Matter of Life and Decease (1946 film) § Chess
  • Knight of faith
  • Middle Ages in pic
  • Death (personification)
  • Listing of historical drama films
  • List of submissions to the 30th Academy Awards for Best Foreign Language Movie
  • List of Swedish submissions for the Academy Award for Best Strange Language Moving-picture show

References [edit]

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  2. ^ a b c d Bragg 1998, p. 49.
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  63. ^ Wall, Mick (2004). Iron Maiden: Run to the Hills, the Authorised Biography (tertiary ed.). Sanctuary Publishing. p. 373. ISBN978-1-86074-542-iii.
  64. ^ Thiago Mattos east Danielle Villela (10 November 2016). "Brasileiro transforma 'O Sétimo Selo' em ópera". Estadao. Retrieved 2 September 2017.
  65. ^ "Maestro brasileiro apresenta opera em New York". Radar VIP. x November 2016. Retrieved 2 September 2017.
  66. ^ Por Debora Ghivelder (7 November 2016). "Brasileiro João MacDowell monta em Nova York sua ópera 'O Sétimo Selo'". Tuttie. Retrieved 2 September 2017.
  67. ^ Plotkin, Fred (17 August 2016). "From Sayão to Saudade: Brazil's Contributions to Opera". WQXR. Retrieved two September 2017.
  68. ^ "Affiche Almanac 2017". Graphis. 2017. Retrieved 2 September 2017.
  69. ^ "The 7th Seal Poster 1". Graphis. 2017. Retrieved ii September 2017.

Farther reading [edit]

  • Bergman, Ingmar (1960). The Seventh Seal. Touchstone.
  • Bragg, Melvyn (1998). The Seventh Seal (Det Sjunde Inseglet). BFI Publishing. ISBN978-0-85170-391-6.
  • Litch, Mary M. (2010) [1st ed. 2002]. "8. THE PROBLEM OF EVIL – The Seventh Seal (1957) and The Rapture (1991) [pp. 188-208]". Philosophy Through Pic (2d ed.). London: Routledge. ISBN978-0415938754.
  • Litch, Mary M. (2010) [1st ed. 2002]. "9. EXISTENTIALISM - The Seventh Seal (1957), Crimes and Misdemeanors (1988), and Leaving Las Vegas (1995) [pp. 209-226]". Philosophy Through Motion picture (2nd ed.). ISBN9780203863329.
  • Livingston, Paisley (1982). Ingmar Bergman and the Rituals of Art. Cornell University Printing. ISBN 0-8014-1452-0

External links [edit]

  • The Seventh Seal at IMDb
  • The Seventh Seal at AllMovie
  • The 7th Seal at the Swedish Film Institute Database
  • The Seventh Seal at the TCM Movie Database
  • The 7th Seal an essay past Peter Cowie at The Criterion Drove
  • The Seventh Seal PDF
  • [two] The Seventh Seal Opera

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Source: https://en.wikipedia.org/wiki/The_Seventh_Seal