Bergman's close, narrow theatrical style lit by shy candles and outer sources and with reciprocal conflicts in between alike characters is one of the strongest trademarks in movie history. His stage production is austere and his conflicts sharp and powerful. It reminds a lot of the "kammerspielfilm".
He did amazing jobs of people dealing with their mortality with "The Seventh Seal" and "Wild Strawberries". While the first was abstract and leaning to the artistic side, the latter was a more emotional, personal journey. With "The Virgin Spring" though, Bergman repeats the search for a Higher Entity in the context of a revenge tale, exacted by two parents looking to avenge their daughter's death. Is there a God watching us? Should we be careful in each step we take? Should we trust that in Death, all our actions will be balanced? This questions, though, have no possible answers but are only told to make characters react in a hopeless way. Plus, it lacks the moral grandiose that characterizes Bergman's films: here, nothing is learned, ambivalence is powerless, nobody triumphs. In this nihilist mold, it's hard for the audience to grasp something of value.
He did amazing jobs of people dealing with their mortality with "The Seventh Seal" and "Wild Strawberries". While the first was abstract and leaning to the artistic side, the latter was a more emotional, personal journey. With "The Virgin Spring" though, Bergman repeats the search for a Higher Entity in the context of a revenge tale, exacted by two parents looking to avenge their daughter's death. Is there a God watching us? Should we be careful in each step we take? Should we trust that in Death, all our actions will be balanced? This questions, though, have no possible answers but are only told to make characters react in a hopeless way. Plus, it lacks the moral grandiose that characterizes Bergman's films: here, nothing is learned, ambivalence is powerless, nobody triumphs. In this nihilist mold, it's hard for the audience to grasp something of value.