The Compleat Ingmar #21: The Virgin Spring (1960)

It is quite amazing to see how prolific a filmmaker Bergman was, and how varied his oeuvre was within a fairly short time. To make a somewhat arbitrary cut, between Smiles of a Summer Night (1955), a romantic comedy with a melancholy streak and a wonderfully light touch, and Persona (1966), whose psychological drama veers into something not too dissimilar from Lynchian horror, lie ten films that include the strange, phantasmagoric The Magician (1958), the chilling, existentialist Winter Light (1963) and, of course, The Seventh Seal (1957), a film so iconic that its central image is surely familiar to many more than have actually seen the film. Even halfway into Criterion’s Ingmar Bergman’s Cinema, I still tend to have a somewhat reductive image of Bergman as the writer-director of psychological drama set in upper-middle-class circles, films of midlife crises and marital strife – and along comes the primal, harrowing The Virgin Spring to remind me that Bergman’s films were much more than just this.

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