The Virgin Spring (1960)

(Originally released as Jungfrukällan)

Starring: Max Von Sydow, Birgitta Valberg, Gunnel Lindbolm, Birgitta Pettersson, Axel Duberg, Tor Isedal

First, the Lowdown: A young girl is murdered. Her killers unwittingly turn to her father for shelter in the night.

Dawn breaks on a farm in the Swedish countryside. A pregnant girl, Ingeri, rousts the fire and begins the early morning chores in the farms main house, but pauses to say a prayer to Odin. Later she is chastised, by Mareta, her devoutly Christian foster mother for staying up too late dancing.

At breakfast, Tore, the head of the household asks Mareta where their daughter, Karin, is because she hasn't helped with any of the daily chores, and they need her to deliver candles to the local church in time for Good Friday. (Tradition holds that a virgin deliver them on.) Mareta insists that Karin is too ill to make such a journey, but Tore is firm. In Karin's room, it turns out that she is not sick at all, merely lethargic from sleeping too much. Upon being woken by her mother, Karin greets her brightly and insists on being dressed in her finest yellow silk shift, fur-lined cape, and embroidered skirt.

Outside, Tore and Mareta prepare Karin's horse. Karin insists that Ingeri join her because the road is long and lonely. Ingeri reluctantly agrees. Along the way they encounter a woodsman's cabin at the edge of the forest. The darkness of the forest frightens Ingeri, and she panics. The woodsman offers to take her in so that Karin can continue her journey.

Further down her path, Karin encounters three herdsmen – two men and a boy – who are instantly attracted to the young girl. Quickly the rush to introduce themselves, at least one of them does – the other adult has had his tongue cut from his mouth and the boy is too shy. They ask Karin who she is and where she is from. Karin tells them a story about being the daughter of a great king in a giant castle, which they all laugh about. She invites them to share her meal.

Meanwhile Ingeri stay at the woodsman's cabin is putting her more on edge. The man tells her that it has been far too long since he has has a woman with him. He also says he recognizes Ingeri as a worshiper of the old ways and shows her his offering to Odin. (Which includes a finger.) Frightened, Ingeri flees the cabin to try to catch up with Karin.

Karin's meal with the herdsmen goes well, until begin pressing how pretty she is. At first Karin takes the compliments demurely, but upon looking at her guests their hidden intentions suddenly dawn on her. She tries to flee them, but they quickly catch her and force themselves on her. After they finish they begin looting her belongings and the mute herdsman clubs Karin to death with a staff. On a nearby hill, Ingeri witnesses this all, too frightened to act. Ashamed at her inability to act, Ingeri runs home.

Later that evening, Tore and Mareta worry about their daughter. Tore is sure that Karin decided to stay the night at the church because of how late it is, but Maret is inconsolable. At the door, however, the herdsmen come calling. They seek shelter from the coming evening and Tore invites them in to wait out the night.

This is the first Bergman film I've had the opportunity to watch and I have to say I loved it thoroughly. I've heard many a filmgoer complain about the open silences that populate his films, but here it adds to the atmosphere. Coming from an era where even stereo sound wasn't possible in theaters, having spans of nothing by ambient sounds playing only makes the viewing experience more immersive.

One thing I was intrigued by is that for a film filled with archetypes, the characters (for the most part) are fairly well rounded. Karin is indeed virginal and naive, but in way that is the product of a sheltered existence. Ingeri is the foil to Karin's virgin, and she is in many ways – she's disobedient, rebellious, and not even devout. And yet the movie only pits them against each other briefly.

Even more interesting for me is Max Von Sydow as Tore. Like most Americans, the earliest role I've seen him in was that of Father Merrin. There, and in every role I've subsequently seen him in, he looks about 60. So it's very odd for me to see him be almost youthful. It's his strength of presence that I think carries best here. Von Sydow looks very much like a farm's patrician, meting out discipline with the same strength he uses to turn his fields.

Line of the movie: “It's the same with people. They quiver like a leaf in the storm, afraid of what they know and what they don't know.”

Four and a half stars. Monkey enema!