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A landmark film from master filmmaker Ingmar Bergman that still remains potent today, "The Virgin Spring" understandably won the Best Foreign Film Oscar for its year. Haunting and unforgettable, it's pull of literate dialogue, attempting to ask some hard questions when it comes to good and evil, and faith and religion. Even at the end, the film does make clear the message that even with vengeance comes a price to pay.

The luminous Birgitta Pettersson plays Karin, the lovely & virginal daughter of a farming couple (Max von Sydow, Birgitta Valberg). The striking Gunnel Lindblom plays Ingeri, the pregnant wild child whom they've taken in. One day, the two girls set off to transport some candles to church, and the nearest church is a LONG ways away. During the journey, Birgitta makes the acquaintance of two travelling herdsmen (Axel Duberg, Tor Isedal) and their much younger "brother" (Ove Porath). The two young men rape and murder poor Karin, and as luck would have it, they find shelter and food at the nearest abode: the von Sydow and Valberg household. Once the two parents put two and two together, they're ripe for revenge.

Shot in gorgeous black & white by the great Sven Nykvist, "The Virgin Spring" will attract curious viewers if they are like this viewer and are horror fans who have already seen the crude and crass Wes Craven reimagining, "The Last House on the Left". Inevitably, comparisons will be made; while each version is quite memorable in their own way, this film retains the power to shock and depress despite cinema becoming progressively more graphic as the years have gone by.

The performances are excellent. Pettersson is such an appealing presence that it's gut-wrenching what happens to her. Von Sydow is his usual tower of strength as the father who learns that vengeance is not all it's cracked up to be. Duberg and Isedal may not quite make one want to take a bath afterwards the way that Krug and company did in Cravens' film, but they're still sufficiently creepy.

Vivid and credible, this does leave its viewers with some things to think about afterwards, and offers no easy answers.

Inspired by a 13th century Swedish ballad, and scripted by Ulla Isaksson.

Eight out of 10.

Legendary Swedish director, Ingmar Bergman's probable precursor to Wes Craven's notorious 1972 shocker 'The Last House on the Left' is a far more compelling and emotionally draining film that adroitly and continuously switches the viewers sentiments up until the despondent, tranquil and haunting ending. While one minute the viewer is laughing along with the youthful, if naïve, exuberance of the young Karin (Birgitta Petterssen), the following minute will encourage different emotions as Bergman plunges the viewer into the middle of a nightmarish crime perpetrated by nothing less than the evil inside man. Although the portrayals of the acts committed in 'The Virgin Spring' are far less graphic than the modern viewer may have become accustomed to, they still retain an immense power to horrify as one cannot ignore the great lengths Bergman has gone to in order to give his characters a base in order to harden the impact of what we see. With just the simplest of dialogue, the viewer continues to learn about the relationships and personalities of each of the characters so that we may appreciate the consequences and, in some ways, forgive the actions that we see. This film is, after all, a tale of morality and repentance and therefore, even while in some cases the actions may be evil, it is necessary to accept the goodness that is still there. This thought is made no clearer than during the solemn and subdued final scene which fades out abruptly and leaves the viewer in a state of quiet reflection.

Bergman's pacing and subtle direction which at one point leaves the viewer in suspense for what seems like an eternity is surely the reason for the greatness of this film. As if he were playing chess, he manipulates not only the characters, but the emotions of the viewers with intelligent and surprising maneuvers while pressing home his own sentiments regarding the story so that we may at least take into great consideration the events that we have seen. Bergman has an amazing ability to flip the atmosphere of a movie in a split second using various lighting and camera angle techniques as well as motivating his performers to follow suit. The simple expression changes on the faces of Birgitta Petterssen, Max von Sydow, Birgitta Valberg and Gunnel Lindblom at various points throughout the film quickly alter the mindset of the viewer and indicate that all is not well; so beautiful in undeniable simplicity.

'The Virgin Spring' is nothing short of a masterpiece and a film that few will be able to forget. 9½/10

A powerhouse piece of filmmaking from one of the all-time great directors. This 14th-century exploration of good and evil, morality and chaos, love and revenge is pretty much a faultless viewing experience and one which retains its ability to shock and provoke thought in the viewer even today. I can only imagine what it would have been like to see this on first release.

The story is deceptively simple and yet filled with harrowing imagery. The assault in the woods is difficult to watch, even in these jaded times, and of course Bergman wrings the maximum tension out of it right from the very beginning. The second half is, perhaps, even more tense, with the expectation of impending violence and the strong, subtle filmmaking techniques (think: lots of lurking shadow, religious iconography, haunted faces). The excellent use of black and white photography reminded me of Kurosawa's work on RASHOMON. Max von Sydow holds it all together as the brusque father and family man, but he heads a cast who can do no wrong.

Wes Craven went for a lurid, contemporary remake in LAST HOUSE ON THE LEFT, but despite the graphic nature of Craven's film I don't think it holds a candle to this one.

... and that's about all I can SAY about it. I saw this film four, maybe five years ago. And to this day, I feel a blow to my gut whenever I remember it. To this day, it haunts me - especially (and not surprisingly) the figure of the little boy.

This is a raw, uncompromising, unbiased parable on love and revenge; on humanity. It is set in 14th century Sweden - but its "message" is timeless: as timeless as love and vengefulness themselves. As timeless as humanity itself. Because the mores may change, but today, as 800 years ago, people are still helpless in their (perhaps inevitable) core existential ignorance, still subject to the immense pain of losing a loved one, of the inexplicable torments that often befall just and righteous, "good" people.

And that is what makes this a brutal, heartrending, unforgettable film.

... (in 14th century Sweden) and were naïvely happy, beautiful and endearing and a little bit gay, the chances are you'll come a cropper, as rogues and fiends uncork your stopper (amongst other dastardly deeds).

A tragic tale unfolds over a day or so, with emotions bouncing off the thatch and hearts and minds broken and dispatched. Great film making accentuating sublime performances through a story of despair and disillusion.

Max von Sydow is, once again, out of this world and Gunnel Lindblom's pretty impressive too, in a tale not written by the director but transpires to be one of his absolute best.