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The Magician
Film Description AKA The Face. 1846. In a covered wagon Dr Vogler's Magnetic Health Theatre travels the country. When they reach the forest, they are hailed by Spegel, a failed actor, with whom they talk of illusions. In Stockholm, they meet Vergerus, who sees through Vogler's act, vowing to expose him. Cue for a nightmarish reworking of the horror film in which a society's affectations are punctured and a man is destroyed.
Film Information
DVD Extras Star & director filmographies; film notes and The Bergman Collection trailer
Technical Details
Reviews & ArticlesShare your thoughts and opinions - write a review
Article - "Ingmar Bergman"
by David Parkinson
Born in Uppsala in 1918, the son of a stern Lutheran pastor, Ingmar Bergman first entered films in 1943. His earliest directorial efforts were compassionate studies of the social and romantic problems facing the young, which bore the influence of silent Expressionism... View article in full
Collections & ListsThis film is part of the following Customer Film Lists
Bibi Andersson by BibiAnderssonFan A list of some of the great films starring my favourite actress. The luminous Bibi Andersson started her film career with Ingmar Bergman with a small part in 'Smiles Of A Summer Night' but quickly came to prominence in his films with parts written about/for her. Bibi has commented upon reading scripts by Bergman trying to workout what side of her personality he was using and his use of her personality in his work, and the knowledge he had of her as a person being the inspiration he used for her roles, and he has spoken of her being such an integrated a person that it was impossible for her to play something she didn't believe in, resulting in the roles being created about her. Their partnership on and off the screen provided both of them with the greatest work of their careers such as 'The Seventh Seal,' 'Wild Strawberries,' 'The magician,' 'Brink Of Life,' 'A Passion,' and 'Persona.' During their thirteen films together Bibi's parts gradually became more troubled beginning with her portrayal of a young mother to be who wishes the death of her unborn child and continuing with the harrowing, desperately sad Eva in 'A Passion.' Other directors used the image of the fair skinned, fair haired, blue eyed, pretty, innocent girl of her early roles for Bergman to more challenging results such as Vilgot Sjoman with 'The Mistress' playing the title role and as a sister who has an incestuous relationship with her brother in 'My Sister My Love', but it would be Bergman who shattered this image with her complete break down in 'Persona.' Giving a particular impressive performance as a nurse who talks throughout the film but is never answered by her silent patient, leading to highly charged personal revelations as her insecurity and instability grow driving her to question herself and her patient to unnerving confrontations until the point of the patients persona merging with hers. With this collaboration Bibi and Bergman achieve a true masterpiece of cinema, owing much to her outstanding performance. Her portrayal of psychological characters in these later Bergman films established the tone of her work with other directors like Robert Altman with 'Quintet', raped by Indians, abandoned by her husband and searching for her kidnapped child in Ralph Nelsons 'Duel At Diablo', the abused Erika who uses sex and drugs to forget her past in John Houston's 'The Kremlin Letter', and as the bored housewife who may (may have imagined) rape, may (may have imagined) being held prisoner in her home in Jacques Doniol-Valcrozes's complex, dreamlike 'Le Viol'. These roles result in Bibi Andersson being one of the most tormented women in film. Not all the films Andersson lends her vast talents to are the masterpieces she made with Bergman, but it is assured her acting is always interesting and worthwhile watching.
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Smiles Of A Summer Night
The Seventh Seal
Through A Glass Darkly
Wild Strawberries
Cries And Whispers
