The Criterion Collection Loves Ingmar Bergman. With Bergman’s “The Seventh Seal”, I Understand Why
The Criterion Collection is a distribution company that specializes in “important” classic and contemporary films. Through Hulu, many of these films are made available to stream. Once a week, I like to illuminate a Criterion movie — to deepen one’s understanding of filmmaking and film history. This week’s movie: “The Seventh Seal” (1957)
In the mid 1950s, the play Wood Painting began showing at the Malmö Municipal Theatre in Malmö, Sweden. The play was written for 10 students who studied and perfumed at the Malmö Municipal Theatre. The one act play was well received by the local citizens. Its writer and director (who was director of the theatre) believed his students had the talent to amaze crowds of theatre goers. However, the theatre director was unable to find a play to suitable to his liking.
So, Ingmar Bergman wrote one.
By the time Bergman wrote Wood Painting, he had worked in the business of film for 10 years. He directed his first film — Crisis — in 1946. Since his first film, Bergman contributed on multiple scripts and films (either writing, directing or both). Though on the scene for 10 years, Bergman was fast becoming the legendary filmmaker he is known as today. His play Wood Painting transformed into the best (in my opinion) Ingmar Bergman film and one of film’s greatest achievements: The Seventh Seal.
When browsing through the Criterion Collection, Ingmar Bergman’s name comes up a ton. His films litter the selection of Criterion films. His influence is shared by many classic and contemporary filmmakers. If there is ever a discussion about film and its history, there needs to be a chapter about Ingmar Bergman. Since I have yet to touch a Bergman film in my Criterion exploration, I believe I am way overdue.
Released in 1957, The Seventh Seal takes place during the Black Death — the 1300s. Based on Wood Painting, the story features A medieval knight (played by the young and Bergman staple Max von Sydow) is offered to play a game of chess with the personification of Death (played by Bengt Ekerot). The knight soon learns that Death has come to take his life, and philosophy over life and death soon follows.
The Seventh Seal — like many of Bergman’s work — was shot in his native Sweden. At the time of its release, the film began to bring world attention to Bergman’s work. Going forward, Bergman became a highly regarded director and writer. His films always feature in “classic” film lists. The proper starting point for those jumping into the films of Ingmar Bergman is The Seventh Seal. The film features deep and intricate writing and dialogue, usually associated with Bergman films. That is coupled with iconic imagery that marks The Seventh Seal as a film classic. Its a standout among a long list of classics in Bergman’s filmography.
The major takeaway from The Seventh Seal is its heavy use of religious themes. The title is a reference to the Bible, more specifically the Book of Revelation. Throughout the film, Bergman touches on the theme “the silence of God”. This is the biggest thematic question the film addresses. Throughout the film, The knight is confused on why God refuses to answer in times of darkness. During the Black Death, dark, grim scenes were a common sight. In the film, God’s no-show act is alluded to and witnessed by the knight. This is where Bergman hits gold. “The silence of God” is a such a deep theme, but Bergman carefully has his characters discuss it without it seeming preachy. It drives the story forward. Unlike other films of his, the themes do not get in the way of the characters or story. This film is not directed or written to forcefully include the religious themes.
The film opens with the knight on the beach playing chess by himself. Soon, Death appears announcing the knight is to die. Trying to outsmart Death, the knight challenges Death to a game of chess — hoping to forestall his demise. Death agrees. The “main” story follows the knight and his squire heading for a castle. Along their journey, they pass some travelers and begin interacting with them. Throughout the journey, the knight is seen playing chess alone — but is he? There is so many interesting moving parts. We witness the knight question his life and life’s meaning, knowing he is to die. The idea of death is the great shadow hanging over someone’s life. How we deal with death and its meaning differs from person to person. In this film, we witness the knight’s point of view on death and its implications. Bergman brilliantly illumates the different sides of the knight, due to the Death’s appearance in his life.
Over the course of the film, changes in the knight’s beliefs and life subtly take place. As he questions God, morality and these bigger themes, others are trying to survive the sickness that has taken over their world. The characters pass time with theatre, stories and each other’s company. The inner battle within the Knight — along with the battle of surviving outside forces — is a really great dilemma that unfolds throughout the movie. The movie is so smart in the way it presents information. The knight pleas to Death that he wants to do one final meaningful deed before his time is up — redeeming, he believes, what has been a wasteful life.
The ending to The Seventh Seal is as iconic as one can get in film. With all this discussion and thought on life and death, the knight jumps on a final opportunity to prove his life’s worth. The themes brought to light by the film play a huge part in the film’s plot. Without spoiling anything, The Seventh Seal ends a highly satisfying note because the payoff is extremely satisfying. Although dark and grim the ending may seem, it follows the “rules” of life the knight and Death deeply discuss during their time together. I applaud Bergman for sticking to a certain set of beliefs, but also managing to pour them out in an effective story.
With The Seventh Seal’s plot and thematic structure brilliantly told, Bergman and this production team include highly memorable and provocative imagery. The image of death — wearing all black and having the whitest of faces — is striking. Death is not some paranormal entity. He looks like you and me. Though the Black Death ravages through the country, for most of the film, the setting is photographed in a light, airy way. The juxtaposition is obvious and interesting. Finally, the last scene. Treated with a touch of lightness that runs through the entire film, death is inevitable. In a stark last image, the film’s main theme — the silence of God — is shown in a ghoulish way. The scene is filmmaking brilliance. The image tells you everything. There is no heavy-handiness on what Bergman is trying to tell you. The film ends on a beautifully simple note.
The Seventh Seal is one of the best examples of taking a deep, heavy subject and making an interesting, thought-provoking film. Most of the times, we get lost — with no directions to find ourselves out — in a film’s attempt to include major themes. Not with this Bergman film. (Fair warning: it happens in other Bergman “classics”). Everything in this film clicks beautifully.
If this was not convincing enough, take the Vatican’s word. They included The Seventh Seal in its list of 45 great films.
