Jungfrukällan (1960)

Director:

Ingmar Bergman

Writer:

Ulla Isaksson (writer)

Release Date:

14 November 1960 (USA)

Genre:

Crime | Drama

Plot:

Set in beautiful 14th century Sweden, it is the sombre, powerful fable of peasant parents whose daughter...

Plot Keywords:

Stepsister | Shelter | Revenge | Goat | Farm

Awards:

Won Oscar. Another 4 wins & 2 nominations

Cast

Max von Sydow	...	Töre
Birgitta Valberg	...	Märeta
Gunnel Lindblom	...	Ingeri
Birgitta Pettersson	...	Karin
Axel Düberg	...	Thin Herdsman
Tor Isedal	...	Mute Herdsman
Allan Edwall	...	Beggar
Ove Porath	...	Boy
Axel Slangus	...	Bridge Keeper
Gudrun Brost	...	Frida
Oscar Ljung	...	Simon
rest of cast listed alphabetically:
Tor Borong	...	Farm-hand
Leif Forstenberg	...	Farm-hand

Also Known As:

The Virgin Spring

Runtime:

89 min

Country:

Sweden

Language:

Swedish | German

Color:

Black and White

Aspect Ratio:

1.37 : 1

Sound Mix:

Mono

Certification:

Australia:M | Finland:(Banned) (1960) | Finland:K-18 (1966) | South Korea:15 | Norway:16 (1960) (cut) | Canada:13+ (Quebec) | Argentina:18 | Chile:18 | Sweden:15 | UK:15 (re-rating) (1994) | UK:X (original rating) (cut) | USA:Unrated | Germany:16

Filming Locations:

Dalarnas län, Sweden

Company:

Svensk Filmindustri (SF)

Trivia:

Mentioned in the Van Halen song The Seventh Seal.

Quotes:

Töre: You are not alone, Mareta. And God alone bears our guilt.

Movie Connections:

Referenced in Never Sleep Again: The Making of 'A Nightmare on Elm Street' (2006) (V)

Masterpiece.

Legendary Swedish director, Ingmar Bergman's probable precursor to Wes Craven's notorious 1972 shocker 'The Last House on the Left' is a far more compelling and emotionally draining film that adroitly and continuously switches the viewers sentiments up until the despondent, tranquil and haunting ending. While one minute the viewer is laughing along with the youthful, if naïve, exuberance of the young Karin (Birgitta Petterssen), the following minute will encourage different emotions as Bergman plunges the viewer into the middle of a nightmarish crime perpetrated by nothing less than the evil inside man. Although the portrayals of the acts committed in 'The Virgin Spring' are far less graphic than the modern viewer may have become accustomed to, they still retain an immense power to horrify as one cannot ignore the great lengths Bergman has gone to in order to give his characters a base in order to harden the impact of what we see. With just the simplest of dialogue, the viewer continues to learn about the relationships and personalities of each of the characters so that we may appreciate the consequences and, in some ways, forgive the actions that we see. This film is, after all, a tale of morality and repentance and therefore, even while in some cases the actions may be evil, it is necessary to accept the goodness that is still there. This thought is made no clearer than during the solemn and subdued final scene which fades out abruptly and leaves the viewer in a state of quiet reflection.

Bergman's pacing and subtle direction which at one point leaves the viewer in suspense for what seems like an eternity is surely the reason for the greatness of this film. As if he were playing chess, he manipulates not only the characters, but the emotions of the viewers with intelligent and surprising maneuvers while pressing home his own sentiments regarding the story so that we may at least take into great consideration the events that we have seen. Bergman has an amazing ability to flip the atmosphere of a movie in a split second using various lighting and camera angle techniques as well as motivating his performers to follow suit. The simple expression changes on the faces of Birgitta Petterssen, Max von Sydow, Birgitta Valberg and Gunnel Lindblom at various points throughout the film quickly alter the mindset of the viewer and indicate that all is not well; so beautiful in undeniable simplicity.

'The Virgin Spring' is nothing short of a masterpiece and a film that few will be able to forget. 9½/10