Customer Reviews

The Magician ( Ansiktet ) ( The Face ) [ NON-USA FORMAT, PAL, Reg.0 Import - United Kingdom ]

5 star:		(12)
4 star:		(10)
3 star:		(4)
2 star:		(0)
1 star:		(2)

 

 

An underrated film by the master Ingmar Bergman. Part horror, part comedy, part erotic, part
symbolic...it is a movie that should generate a lot of thinking when it is over.

Ostensibly it is a movie about the continuing conflict between faith and science...or reason and art but there are no quick answers. The character of Dr. Vogler may have been influenced by the myth and fact of Rasputin. Even the look is similar; Max Von Sydow is the "perfect choice of actor" in portraying this hypnotist, con-artist, or real magician.

I never had the sense that the "magic" was real, but persons behave as if the illusions were true. After a cynical medical officer humiliates Dr. Vogler, attempts to prove Vogler is nothing but a charlatan, the magician challenges him for a private performance. And in that performance Dr. Vogler dies and comes back to life again...the metaphor of Christ.

The nature of God requires us to keep on questioning. This was a theme in "The Seventh Seal' and it reappears in this film. Recommended...not as a masterpiece but as an important work of the director.

The correct title of this film is The Face. Since it partly deals with the way that artistic truth has to be packaged and promoted by hucksters it is not surprising that whoever distributed it in the US monkeyed around with Bergman's original title. More surprising is that an exceptionally stimulating, well-directed, well-written and finely acted work like this has only collected 3 Amazon reviews in the last 5 years. The actor's trade is here presented as closely akin to religion. Does the miraculous actually happen? Has it ever happened, even if only just once? Pleasure in art requires a suspension of disbelief: anyone, therefore, who has enjoyed a story, a picture, a film, has replaced reason with faith --- if only for an hour or so. There are certainly some people, entire sects of the puritanically minded (including groups of scientists, rationalists, and so on) who hate art, presumably seeing it as inherently fraudulent. At the same time, as Holly Hunter has remarked, actors are only beggars and gypsies; beyond the bounds of respectable society. When this theatrical tale ends the god appears from the machine, nevertheless, and the suggestion is that miracles do occasionally happen. Anyone at all interested in this subject owes it to him/herself to see this subtle film, by an acknowledged master of the medium, and one of the greatest of the C20th.

Ingmar Bergman's best films give the viewer the feeling of participating in a rite. Its rhythms are less those of conventional narrative, than of theatre or a religious procession, say. As with rites, the appeal is not to the viewer's intellect; their effect is both sensual and spiritual, troubling precisely because we can't put our finger on that appeal.

Of course, this requires a kind of faith, and is open to charges of manipulation, precisely the theme of 'The Magician', a splendid slice of unnerving Grand Guignol horror, where a rather academic argument between the Enlightenment values of sceince, reason and empiricism confront those of superstition, magic and the inexplicable. These latter values might be called medieval, pre-Renaissance, and we are reminded that the modern theatre developed in this period from the Church, from rites and passion plays. this is the kind of effect 'The Magician' has, visually and tonally.

The argument is not between the doctor and the mesmerist, but between the film's surface narrative (which, as an argument, promotes the predominance of reason) and the film's form (which destroys every attempt at argument). Everything within the film that seems to derive from supernatural forces can all be ascribed, more or less, to rational causes, for example psychological weakness; even if it is this very weakness, that border between what we know and what we can't know, in which the mesmerist exists. Although we might say 'Ah, it's only a delusion', the very fact that these self-generated delusions can convincingly take the place of safe, everyday reality, can become that reality, suggests the limits of rationality, without any recourse to the supernatural.

The shams of actors, con-men, misanthropes pretending to be mute, women pretending to be men might all be illusions which, once exposed, can restore the status quo; but once the idea has been suggested that a boundary can be crossed, that an illusion can be real, than a system based on those boundaries is undermined.

In a film where actors pretend to be what they're not, whose narrative proceeds like theatre and climaxes with a theatrical spectacle, Bergman's technique can be called a charade - e.g. the haunting trip through an eerie forest, the fog streaming in the sunlight like a magical gateway; the terrifying attack on the doctor in a surrealist attic, are all an illusion to give us a sensation, but they also undeniably reveal a world for us that lives with us and which we never acknowledge. As ever with Bergman, it is only with acting, deception and illusion, not ational argument and empirical evidence, that we can even begin to approach the truth.

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.

The three films that Ingmar Bergman produced at the close of the 1950s -- DET SJUNDE INSEGLET, SMULTRONSTAELLET and JUNGFRUKAELLAN -- tower so high in his output that one might forget that these were not his only productions of the era. ANSIKTET ("The Face", released in English-speaking markets as THE MAGICIAN) from 1958 is one of his lesser-known films.

In mid-19th century Sweden the magician Albert Emanuel Vogler (Max van Sydow) goes from town to town promising people cures for their ailments and performing magic tricks, including what was the sensation of the time, hypnosis. He is joined by his tout (Aake Fridell), his "ward" Mr. Aman (Ingrid Thulin) and his "grandmother" and the troupe's maker of patent medicine (Naima Wifstrand). After fleeing the law after a performance in one town, they pass through the forest and enter another community. Here they are detained by the authorities, so that the physician Vergerus (Gunnar Bjornstrand), the consul Egerman (Erland Josephson) can decide a wager on whether Vogler's tricks are real spiritual powers or scientifically explainable illusions.

While ANSIKTET should not be overlooked for fans of Bergman, I think it's fair that the film is not ranked among Bergman's greatest achievements. Characterization is pretty slim -- we get no idea of why Vogler and his companion chose this life, and Vergerus is so shallow that Gunnar Bjornstrand seems wasted. And had the film ended three minutes earlier it would have been one of Bergman's more powerful conclusions, but instead we get a completely unexpected happy ending that just seems lame. Much of the middle part of the film depends on sex jokes that are funny at times, but I suspect anyone who knows Bergman's great output will continuously be thinking that he's capable of so much more than this.

Still, ANSIKTET does have a generally thought-provoking dramatic arc, and some moments will prove memorable. I especially admired the battle between Vergerus and Vogler and the magician's breakdown (funny how his temperment appropriately changes with his clothes in this scene). It's a pity that Criterion hasn't released the film for the US market as Bergman's major films, but if you can view the UK import, it's worthwhile.

I enjoyed this film immensely. I discovered this film by accident, yet I was surprised by Bergman's visual intensity and sly metaphor. Where one filmmaker might tell a simple tale of a magician maligned by suspicious citizens, Bergman takes this idea further. His is the story of a visionary, who having first gained the favor of a town, is later reviled for awakening their self-awareness. And, when the man is cast from town, seemingly as a penniless drifter, he creates his best illusion of all. Bergman is well-known for his use of relgious metaphor, and this film attests to his genius. I won't offer my conclusions, but leave this discovery to the pleasure of the viewer.

The cinematic excellance of The Magician (1958) is appreciable if you put it into the context of Bergman's other earlier (relatively) films- The Virgin Spring, 1960, and Through a Glass Darkly, 1961, both of which won best foreign lanquage film academy awards (and both of which starred Max von Sydow and both of which were shot in black-and-white). Bergman was beginning to understand that his films were enjoyed by more than just swedes, that he had some sort of universal appeal. I think the reason for this is that Bergman was (is, to me,) one of those rare individuals who can remember his own dreams. "Well," you might say, "that explains some of those slow moving sequences such as the opening scenes of the magician's troupe rolling into the misty swamp." But now think a minute. What would it be like to have a magical act in one of your dreams? The answer is one of the most terrifying encounters ever filmed, yet it is always on the edge of black magic, always just a little bit short of pure evil. The whole movie, all the little subplots, climax in this astonishing dream-magic.
So buy it, my friend, (now that it's finally available on DVD in the U.S.) It's one of those films that you watch, and then every few weeks after you watch it again, and again. Quality horror, with a seemingly impossible happy, even funny, ending.

***1/2 1958. Written and directed by Ingmar Bergman. Special Jury Prize in Venice. Albert Emanuel Vogler's company has just arrived in town. Before being allowed to give public performances, Vogler, an hypnotizer and a magician, must give a performance in front of the local authorities. THE MAGICIAN is a film about the artist's condition and, as a consequence, about Bergman himself. Vogler is, like a movie director, a manipulative person who plays with his public, a mute cog in the process of film making who only recovers his voice in order to convince producers to finance his project. In this perspective, THE MAGICIAN handles all the literary themes about illusions: the make-up, the dead man who's not dead after all, magic, love, transvestite characters and so on. While, in my opinion, the first scenes in the forest and the final duel between Dr. Vergerus and Vogler are little jewels of cinema, the scenes at the Egerman's are rather long and theatrical. At this moment, the mise en scene doesn't do justice to the high quality of the screenplay. But THE MAGICIAN is still an indispensable movie for the Ingmar Bergman aficionado who sleeps in every movie lover's mind. Recommended.

The Magician, or Ansiktet (face in Swedish), is a film by master director, Ingmar Bergman.

The premise of the film is pretty simple. "Voglers Magnetic Health Theater," a troupe that performs acts of mysticism in public, has a bit of notoriety across the country and the local town's representatives (chief of police, chief medical examiner, mayor) request an audience prior to allowing them to perform.

I'm generally not one for the deep discussion of films, though I do occasionally like a really good thinker. At the basest of levels you have a dark comedy and as you delve deeper you see more of the mysticism vs science pieces emerge and make you think. Kind of like a Science Vs Religion sort of feel. I don't think there is as much allusion as there is in say, The Seventh Seal (The Criterion Collection) [Blu-ray] but you can spend a fair amount of time thinking on this one.

If you approach this film as something to watch and unplug your brain, you will be disappointed. It's not an action movie and without engaging with it you may find yourself bored.

Also a bonus, this is probably one of the least depressing Bergman films, unlike many of his later works.

For movie itself I'll give it 3 stars. I'm not really reviewing the film as much as I am reviewing the Blu Ray release.


Video-

Wow. This is a stunning, stunning transfer. Criterion has gone above and beyond as is their usual treatment of material. The only anomalies I recall seeing were a few instances of "hairs" at the bottom of the screen. Given that Criterion will always clean up what they can without sacrificing clarity and quality, I assume it would have damaged too much of the transfer to clean up properly so they left it.

Also noticeable is some instances of heavy grain. These sequences are mainly during the first 20 minutes or so. I don't know where the grain was introduced (I doubt Criterion put it in so it's likely an issue with the master that can't easily be corrected), but it is there. Otherwise the picture is stupendously clear.

One part that really stands out as an amazing feat is the opening sequences while the troupe is traveling via horse and carriage through the morning mist. Given the quality of the mist, free from compression issues, I would say the film has a clarity to it that hasn't likely been seen since it's first showing from a pristine reel.

The quality of the image on screen is breathtaking.

1080p pillar boxed. The original aspect ratio of the film was 1.33:1 and this preserves that ratio perfectly.

5 stars for the restoration work and 4.5 stars for video quality because of the grain issues (which are likely master based over transfer, but still, they are there)

Audio-

Hope you like to watch films in foreign languages, unless you speak Swedish. Criterion has given us an uncompressed (LPCM) mono version of the original Swedish soundtrack (mono is how it was originally presented) with optional English subtitles. It has been restored as well as the video and there are no discernible hisses/pops/damage you might expect from a film of this age. Criterion has done a great job on the audio.

Subtitles-

I don't speak Swedish so I can't comment on the quality of the translation, but they were legible and made sense.

Packaging-

Typical Criterion Blu Ray packaging. Larger case which holds the disc and the rather large booklet that accompanies the set.

Extras-

If you step into this one expecting a ton of extras, expect to be disappointed. What is here is very nice though.

On the disc you have 2 interviews with Bergman. Both were recorded quite some time ago (1967 and 1990 respectively) and you may have already heard them, but either way, it is nice that they are included. (both presented in 1080i)

Also on disc is a "visual essay" where Peter Cowie, a Bergman expert, deconstructs the film and tries to explain the message of the film. (Presented in 1080p)

That's it for video based extras.

The other extra is a 40 page booklet. It contains 2 essays on the film and an excerpt from Bergman's biography.

Extras I give 3 stars, though what is there is quality.


Overall-

The film is enjoyable and the audio/visual presentation is nothing short of amazing. If you are a fan of Bergman, don't hesitate to buy this (unless you have the DVD, as the presentation is all but the same minus the LPCM audio and HD video).

If you've never seen a Bergman film and aren't sure it is your cup of tea, check out The Seventh Seal (The Criterion Collection) [Blu-ray] first. If you enjoy that one, chances are you'll enjoy this one as well.

Good stuff. Recommended.

I was lucky enough to see "The Magician" at a revival series in Baltimore about two years ago. All I need to say about this film is that it is vintage Bergman: haunting, at times hypnotic, at times humorous, and beautifully filmed. While it may not be as dark or intense as "The Seventh Seal," it is probably more accessible, and the climax scene is unforgettable. Here is my complaint - it is sadly unavailable in the U.S.! I'm keeping my fingers crossed that the Criterion Collection will eventually do the job. Until then, I'll just have to suffer!