hyped garbage

Absolutely Fantastic

The plot isn't so bad, but the pace of storytelling is too slow which makes people bored. Certain moments are so obvious and unnecessary for the main plot. I would've fast-forwarded those moments if it was an online streaming. The ending looks like implying a sequel, not sure if this movie will get one

what a terribly boring film. I'm sorry but this is absolutely not deserving of best picture and will be forgotten quickly. Entertaining and engaging cinema? No. Nothing performances with flat faces and mistaking silence for subtlety.

Years ago when I first saw THE LAST HOUSE ON THE LEFT I'd read that it was loosely based on the 1960 Ingmar Bergman film THE VIRGIN SPRING. For one reason or another I'd never been able to see that movie though so just how loosely I never knew. That was one of the sad things about there being no video at one time and later that video stores didn't carry many films considered "art films" in small towns. So when I saw Criterion was releasing the film I was anxious to finely have the opportunity to see it.The movie features Max Von Sydow as Christian Per Töre, a landowner in medieval Sweden who has converted to Christianity with his wife Märeta (Birgitta Valberg). They have a young daughter named Karin who we see early on is indulged being the apple of her father's eye. Living in the same house is Ingeri (Gunnel Lindblom), a peasant serf of the family who resents them and has a reputation that has left her pregnant. With a holy day coming Karin is assigned the task of taking candles to the nearby church. Anxious to go she dresses in her finest clothes and asks that Ingeri accompany her. With hate in her eyes Ingeri goes along until they reach a stream before entering the nearby forest. Afraid for some reason she remains behind with the man who owns mill at the stream. When he attempts to assault her she runs after the long gone Karin.As she makes her way through the forest Karin comes across three herdsmen, brothers, and offers to share her lunch with them. They lead her to a field and as lunch progresses she senses danger from the three. Before she can escape them they're on her and rape her. When she tries to run afterward, one clubs her to death. As this all happens Ingeri watches from the wood, never helping. The men steal the fine clothes Karin was wearing and leave her behind in the woods. Back at the homestead Christian and his wife worry about their young daughter when she doesn't return, but not overly so. She's stayed in town before. As it grows dark the three herdsmen show at the house completely unaware that this is the home of Karin. They're invited in and provided a meal and shelter with the potential of work. During the night however Märeta finds her daughter's clothing among their things. Ingeri returns and tells them what happened. Events are set in motion from that point that will forever change them all.Most people will have already known the story of this film with it being over 50 years old now but I decided not to reveal the final portion of the film. That's difficult to do because some of the most striking images are contained there. If you watch the film on the Criterion edition you'll see what I mean and also hear in the extras some of the things I can't quite refer to here.The story is stark and brutal but there's no other way to depict what occurs. That this much was shown (though no real skin makes it to the screen) in 1960 is stunning in itself. But the brutal act of rape is on display and the murder after while quick is also heightened by the way the body is ransacked and left totally exposed to the world. It's upsetting and yet at the same time not nearly as much so as later films depicting the same act have been. LAST HOUSE that I referenced earlier or even the rape in DEATH WISH are much more upsetting. But the naïve attitude of Karin and her soft beauty make it an unbearable act in this film. What comes later at the hands of a grieving father is equally disturbing and yet done in such a manner as to truly be considered artistic.The movie in its entirety itself is gorgeous. Cinematographer Sven Nykvist did an amazing job with the stark black and white photography shown here. This was the first film he did with Bergman and they collaborated on many more after. The clarity of the Criterion version here is amazing. As an example a scene early on of Ingeri that's backlit shows the fine strands of stray hair completely visible in the picture. And being shot in black and white actually helps the movie rather than hinder it. To be honest this is the first film by Bergman I've had the opportunity to watch. The only reason I can explain for that as someone who loves all things film is that I've never had access to any of his films, even taking classes in film. I'd always heard his films were somber affairs and judging from this one I couldn't argue that. I'd need to see more to believe or deny that. When he began making films of a more serious nature Woody Allen said that Bergman was a big influence on him. I can see that in some sense but again, without seeing more wouldn't begin to say that's correct or not.Criterion has offered the film here with the respect that it deserves beginning with a 2k digital restoration of the film that as I said earlier is amazing. In addition to that they've included several extras worthy of mention. Those include an audio commentary by Bergman scholar Birgitta Steene, an introduction by Ang Lee from 2005 describing the influence the film had on him, an audio recording of a 1975 American Film Institute seminar by Bergman, an alternate English dubbed soundtrack for those who don't favor subtitles and a booklet featuring essays by film scholar Peter Cowie and screenwriter Ulla Isaksson and the medieval ballad on which the film is based.Criterion has done a bang up job on this release and it's nice knowing that such a copy exists for those who wish to explore the movie and the films of Bergman. This will be edition that fans will want to add to their collection. Film students would bode well to pick this up too. And movie lovers might want to give this a watch to discover Bergman.

The screenplay for The Virgin Spring was adapted from a 13th century Swedish ballad (search for the movie title in Wikipedia for notes about differences between the ballad and the movie). The goatherds in the ballad might have represented the pagan world, as Ingeri represented the world of Norse religion. Karin was killed by the amoral pagan world where only base motivations and instincts are in control. Karin's family represents the finer ethics of Christianity--a newer life view in 13th century Sweden. Man is not so far removed from paganism; and so Store is unable to completely abandon the vengeance of the old ways.One could probably write a paper just about what the writer and director intended by making the changes to the ballad's story. This would illuminate their intentions regarding the film's morality. From their 20th century perspective, the Catholic views of punishment and redemption would much clearer. But the world has had centuries to move past the simplistic philosophic views of the old world. Modern man has challenged the dogma and principles upon which Christianity is based, let alone the individual man's questions to a god that allows evil to exist.I enjoyed this film for its imagery and beautiful B&W photography. The acting was uniformly effective and convincing despite the fact that the characters were symbols for very basic moral roles.Some writers have tried to analyze the story in terms of (sexually) political issues, but their arguments seem contrived. This is a story about primitive emotions and modern attempts to cope with those emotions. It is effective in that.The primary question at the end of the film is whether Store's decision to build a church is relevant. Can every individual choose his own path to redemption? I guess if you believe that the spring is a message from god, then you can believe that man can choose his answer.

I watched 'The Virgin Spring' (1960) on TCM today. It's a Swedish film with English subtitles directed by Ingmar Bergman. If the definition of a horror film is one that scares you by what you see and hear in even just a few of the scenes, then this is a horror movie IMO. For instance there is one scene where the sweet and innocent victim realizes what is about to happen to her. That scene for me was spine chilling. Chilling because these horrors really happen, unlike monsters from space or whatever. It was mesmerizing to watch beginning to end, subtitles and all. I was never a big Bergman fan in years past, probably because I didn't devote the time to his films. I'm only now starting to appreciate his vast talent for story telling and imagery. This is one of those times I wish I was a decent writer so I could put into words what I want to express about this story. I''ll put it simply in my words. The story is about a well to do very religious small family in what I took to be the middle ages. The two parents have farmhands, servants and one young, maybe 17 year old, daughter who is their pride and joy. They send their daughter on a short sort of pilgrimage to bring candles to their church. She is expected back that same day. During the course of her short journey she meets with disaster because she is naive about strangers. Later by a strange turn of events, the parents get their revenge for what happens to her. And do that get even ! I don't want to say much more about the plot. I will say it's obvious that the 1972 horror film 'The Last House on the Left' was roughly based on this much superior story. 'TVS' can be taken as a straight plot of loss and revenge or it can be analyzed much deeper. With this story Mr. Bergman makes us think hard about the nature of God, jealousy, vanity, revenge, regret and even forgiveness. It's the kind of film that will stay with you long after it ends. I do my best to keep these comments short, this is getting long, so I'll end by saying 'The Virgin Spring' was an amazing example of film making at its best.

This is a picture with a gradual flow that one can truly feel as it happens. It evolves step by step: working its way up and then deconstructing itself down. What also helps lock in a viewer is a share of the film isn't scored but instead lets natural sounds and pictures of nature speak through black and white imagery that way to develop a certain ambiance. The style of direction feels loose when there's emotion to evolve and then in others it can be deliberate and calculated in the way no detail is frivolous or unaccounted for."The Virgin Spring" starts out like every other day in this small Swedish town in the Middle Ages, though as it moves along it slowly turns more and more devastating due to an event that caught everyone by unawares. These simple folk come from a different era with different customs and professions, though they get hit with a tragic set of circumstances that can still translate and relate to the modern day person wherever a viewer comes from.Life is here one moment, gone the next. Our time on Earth is about survival, as the chaotic ways of our environment can give and take at anytime. Letting your guard down is something that we all wish we could do, but the moment we get bit we'll be covering up in preparation for the next time, just in case. What makes this film so sad is that it shows that even the most treacherous occurrence can happen to those full of heart and passion. Being innocent, unselfconscious and a free spirit should be things that we should all be able to openly enjoy and experience. Though as most adults learn: there are those that are willing to take advantage and step on what you've built up in the blink of an eye.Karin, a young, blonde maiden, is one such person who's prospects are far reaching with possibilities. She's a rare type that gives off a radiating spark to brighten those around her. The father is protective of Karin, while the mother softer due to it being her only child. As a result the girl is somewhat spoiled, fanciful and naive: ultimately not ready for the harsh realities of the outside world. She wakes up late and is given the small task of bringing candles to the church as per a virginal ceremony with her servant Ingeri. During her trek through the woods, Karin meets three brothers who look poverty stricken and from hard times. Expect they have an ulterior motive even when she offers to give them food and have a picnic. In the flash of a tranquil moment, things turn for worst as they want her for her body and belongs instead as Ingeri looks on as a silent witness from afar. When the three brothers seek shelter, they stumble into the last people they want to meet: Karin's relatives.This has a fairly quick rape scene compared to what's to come with films in the '70s that would make a formula out of this and turn it into the rape/revenge subgenre. It's ugly and manipulative, sure, but it's also an impulsive, spur of the moment action. That way to concentrate more so on the after effects from putting little forethought into the selfish act on the rapist's part and also the servant who willed it at first but became panic stricken when actually played out. Max von Sydow rightfully plays the master of the house named Tore with a looming stance and stern face that commands when needed. His actions and expressions are subtle enough to translate what his thoughts are without having to say it outright. Gunnel Lindblom, as Ingeri, has the most complex role in the film. She's the black sheep of the family, always expected to do wrong and never appreciated when actually doing right: so what's the point of making an effort? The result is she acts misplaced and never really part of something with a sense of security."The Virgin Spring" is a challenging tale that unveils beauty and then breaks down the meticulous ruination of it. The film shows some of the effects of not having restraint, whether it's with hate, physical attraction or violence. It deals with choice: whether to swallow your pride and move on or easily give into current emotions and instant desires. It involves opposing ideals about forgiveness and revenge, as the family is turning towards Christian ways as opposed to traditional Pagan. This begins without a bad guy, gains a few in the middle and by its close the film will have you questioning whether the good ones that got thrown into the horrible situation are any more right in how they wrapped it up. This is an incredibly well-done and poignant picture, though not something to watch lightly even if it reveals a glimmer of hope that can be passed on. This was expertly paced, acted in a natural fluidity--like graceful stage actors than typical cinema performers--as well as the period decoration puts one there to live and feel as these basic people did, so when the events take place, it made them that much more powerful. (also submitted at: http://fromblacktoredfilmreviews.blogspot.com)