Das Schlangenei

In November of 1923, in a Berlin where a pack of cigarettes costs four million marks and people has lost faith in the present and future days, the alcoholic and unemployed American acrobat Abel Rosenberg (David Carradine) loses his brother Max, who has just committed suicide after feeling depressed for a period. Seeing the modifications in the behavior of people, but without clearly understanding the reasons, Abel moves to the room of his former sister-in-law Manuela Rosenberg (Liv Ullmann), who works in a cabaret in the night and in a whorehouse in the morning. Together, they move to a small apartment near to the clinic of their acquaintance, Professor Hans Vergerus (Heinz Bennent), who gives a job opportunity to Abel in his clinic. While working in the place, Abel discloses the evil truth behind the researches of Hans.

"The Serpent's Egg" is an underrated, but also excellent work of Master Ingmar Bergman, one of my favorite directors. In the environment of a Germany with hyperinflation, where people in a moment exchanged marks in weight so fast the currency lost its value; lack of job opportunities, with massive unemployment; the great people and nation humiliated and hopeless, paying for the loss of World War I, Bergman presents his view for the seeds of the Nazism. He introduces the evil character of Professor Hans Vergerus and his sick experiments, and the common person Abel Rosenberg, who sees the modifications in a country where he has problems with communication, since he does not speak German, but can not understand. Unfortunately this movie has not been released on DVD in Brazil, and my VHS has a bad quality of image, impairing the magnificent cinematography, especially in the nocturnal shots. The cool David Carradine is in the best moment of his career and is amazing in the role of Abel Rosenberg. My vote is nine.

Title (Brazil): "O Ovo da Serpente" ("The Serpent's Egg")

Does Liv Ullmann ever do less than brilliant, does Ingmar Bergman never surprise?

Depression hit post Great War Germany, the moods, the sets, the atmospheres almost have you reaching for a bottle of whatever takes your troubles away from the very off, but also wondering how David Carradine might improve, or at least maintain the high level the director's portfolio had achieved to date (albeit acknowledging the Elliot Gould effect of The Touch). The answer is he doesn't and, while he does scrape through until the end, you're left reflecting on the fantastic selection of actors from Sweden the maestro deployed to such ground breaking effect through his lifetime behind the lens.

An intriguing story that gathers pace towards the end.

While not a masterpiece, this is also far from the mess most critics took it for. An intelligent failure (or modest success) Bergman looks at Germany in the 20s as laying the groundwork for Hitler and the Nazis.

Liv Ullman is terrific, as always. And if David Carradine is only good, not great, he certainly didn't deserve the critical attacks he received. The nature of his character is a man so locked in passivity as to be enigmatic. You might not like that kind of character, but it's certainly not the actor's fault for carrying it out well!

Yes, some of it is slow, and some a bit obvious, but those charges could also be leveled against some Bergman films labeled masterpieces. As a cautionary tale of where we were once before, and could end up again, I've certainly seen far worse. It has some truly chilling moments. And I think seeing it again may reveal even more

The Serpent's Egg is almost universally panned because it bears the signature of Ingmar Bergman, yet it doesn't feel much like a Bergman movie - except in a couple of flashes.

Most of the movie is set in dark, humid and chilly inter-war Berlin, where the protagonist gets ever closer to a sinister revelation. This side of the movie feels a bit like another bleak 70s artifact, Soylent Green. When David Carradine gets - at last - hired as an archivist in a sinister clinic, the viewer's interest is piqued.

However, Carradine is saddled with a sister-in-law, Liv Ullman, who comes along with a different set of scenes, that recall Cabaret without the acrid verve of the original. Liv Ullman tries hard, but she is truly miscast. Jane Birkin would have been perfect in this role.

The dialog is poorly written and gives the movie the choppy quality that everyone has objected to. The lines sound translated, unnatural, and David Carradine can't be faulted for sounding lost.

The big budget is well spent, and the film is not boring, nor pretentious. Some effects are in poor taste (the opening credits, and an excruciating scene in a brothel).

I suspect that The Serpent's Egg would have a better reputation today if it had been signed by a lesser director, say, George Pan Cosmatos. Without changing a single shot, it would be remembered as an interesting attempt at something different.

I can't quite understand these alleged Bergman "fans" who say that this film is somehow lacking. Whereas "The Serpent's Egg" is not on par with say, "Fanny and Alexander" or even "Scenes from a Marriage," and even though it is, admittedly, not "Bergmanian" in the sense that the director's strength lies in acute insight into the emotional complexities of his characters, it is NOT, in any way whatever, an inferior film. Here we find Bergman writing and directing a film that steps briefly away from his norm. The fact that this film is better than, for comparison, anything from Polanski (who's "element" is the long-winded suspense film) makes it worth much regard. In fact, I am moved to say that "The Serpent's Egg" is a display of writing/directorial versatility that remains unsurpassed to this day.

This being said, no film should really be rated in terms of previous works of its own writer/director. It should be rated in comparison only to other films. Bergman is a superior director and one of the most talented writers at that. Whereas Bergman himself always strove to be better than Bergman, we should be fair for a second and admit that he is almost always better than anyone else.