Despite the extra care and seriousness with which I’ve taken to watching films recently, my knowledge of cinema remains sadly inadequate. There remain an endless number of classics of world cinema that I really should watch but have never done so. I must include in this the entirety of the work of Ingmar Bergman, a film-maker whom I have always found to be too intimidating and perhaps inscrutable to approach.
The Seventh Seal is therefore the first Ingmar Bergman film I’ve sat down to watch seriously. The problem is that this film is so famous and its influence so wide that I already knew about many of its most iconic images such as playing chess with Death and the Danse Macabre. Bergman was of course merely mining the rich vein of Biblical stories and European folklore, but the fact remains that it is the portrayal of these tropes in this film that has stayed in the common consciousness and frequently referenced in subsequent works.
Given all this, I was still impressed by how thematically rich the film is. The chess game with Death isn’t just a gimmick, it is the linchpin around which the entire film revolves. For Max von Sydow’s disillusioned knight, the game isn’t just a way for him to stave off death, it is how he finds renewed purpose and meaning in life. The existentialist attitude espoused by both the knight and his squire towards God allows it to transcend its folkloric sources even if the end remains an affirmation of faith.
It’s worth noting that my wife disliked this film. I think this is because while I’m an atheist, I am much more familiar with Biblical references and lore than she is and so works that tap this common wellspring resonate more with me. It’s the same reason why The Tree of Life remains one of my favourite films despite all the excellent films I’ve watched since then. Similarly, the depictions of the Black Death rampaging in medieval villages, flagellants and travelling actors are powerful images for me.
Finally, the cinematography and effects are both excellent despite the film’s age and the cheapness of its budget. Nils Poppe’s performance as Jof stands out in the acting department for me but everyone is excellent really. One thing that I found annoying was the skin-tight leggings worn by all the male actors. I don’t know if this is historically accurate garb but to me it gave off an amateurish renfaire vibe.
Given this film’s reputation, its richness and intelligence was within my expectations. But I was surprised by how enjoyable and indeed entertaining it is once you get into the spirit of the archaic dialogue and folkloric feel. Apparently this film is very different from other films by Bergman according to my wife, but I’m now much more enthusiastic about watching more of his work.