The Magician

With the exception for the abrupt and somehow rushed and unsatisfying ending, "Magician" is a typical (in a good sense of the word) Bergman's film that I liked a lot. I would call it "The Tortured Soul of an Artist or Smiles of a Summer Night meets Hour of the Wolf." I did not know what to expect from the film and was pleasantly surprised by an interesting story; impressive (especially in the earlier scenes in the woods) black and white cinematography; perfect blend of humor, intense drama, and mystery. Acting was perfect - not a big surprise with the cast like that: Max von Sydow, Ingrid Thulin, Gunnar Björnstrand, Bibi Andersson, and Erland Josephson. I'd like to mention Naima Wifstrand as Granny Vogler - what a great actress and what a character - she stepped out from the pages of the fairy tales, the old witch, wise and powerful; she also provides many comical scenes.

7.5/10

Most of Ingmar Bergman's films are meant to titillate the intellect. The Magician is no exception. It is rich with symbolism. I think it ranks right up there with "Death in Venice" on the list of misunderstood movies.

I believe the most rewarding level of meaning in "The Magician" is the religious one. Bergman was often concerned with the implications of religious beliefs. And almost always from the attitude of doubt. Consider the lines in The Seventh Seal where the vicious monk, annoyed with the knight's persistence, asks, "Will you never stop asking questions?" and the knight replies resolutely, "No. Never."

Watching this movie with the idea of Vogler as Jesus provides a perspective that informs the characters and their conduct. This melancholy magician, doubted and persecuted by the powerful, surrounded by strange and suspicious persons, is simultaneously visionary and earthy flesh and blood. He only wants to perform his miracles for the masses. Or is he a charlatan? What a powerful way to pose that question.

Many people may have missed the satisfaction of reading the extra layer of meaning in this film: that the "magician" is the the filmmaker or visa versa, in this case Bergman himself. Without giving anything of the plot away, I can say that The Magician is a reflection on Bergamn's role as a creator of illusions. He uses the story of a roving theatrical troupe with an magician to illuminate the metaphor. The apparently abrupt turn of events at the end is Bergman's signal that he is the master of your perceptions in this medium, that he compares to the experience of dreaming.

It is interesting to compare this film with Fellini's 8 1/2, another filmmaker's reflection on the process and meaning of film-making. Two very different sensibilities are at work in these two films, but with surprisingly close parallels in their endings, and involuted plots.

I found this film highly satisfying on many levels, even taken at its apparent face value, as a romp. Seen a second time the illusionist begins to emerge more clearly, from the moment the film opens, with the lighting of the arc lamp of a film projector.

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.

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.