The Magician (1958)

A wonderful film about Emanuel Vogler and his Magnetic health theater that are forced to put up a magical show in front of a sceptical crowd lead by the scientist Vergérus (another member of the Vergérus family, known from other Bergman films). Max von Sydow plays Emanuel Vogler, the tormented artist putting his faith in art and Gunnar Björnstrand the dissecting, denying scientist Vergérus.

It's said that Emanuel Vogler is based on Bergman himself, Vergérus on the Swedish film critic Harry Schein and Manda Vogler on Inrid Thulin.

Still waiting for this and other Bergman films to be released on DVD.

10/10

Fmovies: In 1846, the Albert Emanuel Vogler (Max Von Sydow) and his magnetic health theater is moving in a coach to Stockholm, escaping from the accusation of charlatanism. By the way, they find a very sick drunken man on the road and give a lift to him. The drunk wants to die, to release his spirit from the spoiled body. The man dies along the journey. Near the border, they are forced to present their show to a group of skeptical persons, leaded by the local chief of police, the consul and the scientist Vergérus (Gunnar Björnstrand) and their families. There is a great confrontation between magic and science.

This movie has a great performance of the whole cast and a great black and white photography. The story, about reality x illusion, is very attractive. The VHS released by the Brazilian distributor Continental is a shame. It seems to be filmed from an English projection, having black stripes covering the English subtitles and trembling image. Unfortunately, this is the unique option I have in Brazil to possess such a film in my collection. My vote is eight.

Title (Brazil): 'O Rosto' ('The Face')

Some reviewers have set themselves out to compare The Magician squarely against Ingmar's previous two masterpieces, The Seventh Seal and Wild Strawberries and mark The Magician down, unfairly. It almost cannot be possible to attain the dizzy heights of adulation of those two and as such, we are treated something lighter and possibly, more enjoyable.

Mr Bergman, in his long illustrious career covered many types of subjects. Starting with straightforward and rather dull dramas, through kitchen-sink (Ikea style?!!) and onto the darker shades of human psychology. And beyond, sometimes.

The Seventh Seal succeeded due to its extraordinary storytelling and imagery - along with just about everything else. Wild Strawberries due to its poignancy and leading performances that resonated with a sense of recognition and support in its audience. Other titles offer dark, deep blackly brooding death obsessed monologues that brush against exquisite period dramas of superb detail and cinematography.

The Magician, though has always been one of my favourites. Neither comedy nor horror film but light, often humorous drama that touches upon the Wonder in us all. We all want to see behind a master of illusion and the mixture of nostalgia, set in the comparatively fairytale setting of Scandinavia. I almost find it more akin to Conan Doyle than the witch- hunting or almost unfathomable symbolisms found in many other Bergman's.

As Bergman is one of my favourite directors of all time, warts and all and have 47 of his films I'd say this has much to offer, both to fans such as myself as well being good family entertainment that strengthens his cinematic arsenal, not weakens it.

The Magician fmovies. It's not Bergman as his most tormented or saturnine, but it's thoroughly entertaining, more theatrical (in a good sense) than say Persona or In a Glass, Darkly, and still an unqualified masterpiece on a level of artistry that no one making films today seems to be able to achieve. It makes me think in some ways of Shakespeare's plays like the Henry IV with their mix of tragedy and comedy--all done with tremendous showmanship. I'll bet Orson Welles admired this film-- if he ever saw it.

Bergman seems almost forgotten today. Films like this one, Naked Night, Hour of the Wolf, Persona, etc., hardly ever crop up on TV or film festivals. When Bergman is represented, it's usually by The Seventh Seal (not my favorite, and a film that begs for a parody), Wild Strawberries, Smiles of a Summer Night (because of the musical version, no doubt), or Fanny and Alexander, which is more recent, and most important, in color. What a pity. The man created a body of work virtually unsurpassed in the second half of the 20th century.

An appropriately mysterious Gothic tale with fascinating characters, who may or may not actually possess certain powers, the material is envisioned well by Ingmar Bergman, with careful attention to lighting design, and the acting is superb. Max Von Sydow is given the most intriguing part to play, and he pulls it off well, but Ingrid Thulin and Naima Wifstrand both deserve mentions for breathing life into their fey characters too. The film is about illusions ultimately, and those who are too critical to suspend their disbelief. It is a bit hard though interpreting exactly what Bergman intended by some of the oddities that he has placed in, such as dispersing poison to a young man. Are these attempts to add humour to the tale? Even with these odd inclusions and rushed ending that is a let down, it is quite a satisfying film overall. The music is great, the acting is excellent, and the interesting characters help make this film one of Bergman's most intriguing pieces.

I didn't expect to like this movie, given its period, headline subject matter etc. But don't let those factors put you off, there is real depth and some top notch scenes in this surprisingly superb movie.

Max von Sydow, Gunner Bjornstrand and Ingrid Thulin are three of Bergman's most consistent quality performers and all three have major roles in this film. There are a fair number of stereotypical character parts, mostly performed by ensemble quality character actors. Bibi Andersson is capable of far more than her giggly girl part enables her to show in this film. Indeed, there is some comedic material in this film reminiscent of Smiles of a Summer Night, but don't mistake this movie for one of Bergman's less masterful light pieces, this has real depth and substance.

There are some amazing bits of cinematography, especially the early scenes. The pacing of the movie is masterful, as is the clever use of parallels in the story - the failed actor "dying" and then reviving is a prelude to the pivotal incident around Vogler's "demise".

Top notch scenes include Mrs Egerman opening up to Vogler - she seems so lost - also both scenes in which Bjornstrand's character (Vergerus) insists that he was not taken in by the "magic".

This is now in my Bergman top 5, which makes it a "must see" in my book.