All the films from all the editions, including those subsequently removed, presently totalling 1177. An easy way of seeing how…
The Seventh Seal
When disillusioned Swedish knight Antonius Block (Max von Sydow) returns home from the Crusades to find his country in the grips of the Black Death, he challenges Death (Bengt Ekerot) to a chess match for his life. Tormented by the belief that God does not exist, Block sets off on a journey, meeting up with traveling players Jof (Nils Poppe) and his wife, Mia (Bibi Andersson), and becoming determined to evade Death long enough to commit one redemptive act while he still lives.
My first Bergman feature and it proved to be quite an intriguing one. The Seventh Seal poses some of the most pertinent questions known to mankind and that too in a very bare and straight out manner.
It tells the story of Antonious Block, a knight who is returning home after the crusades. He meets Death and challenges him to play a game of chess with him and in turn buys time of respite to reach home and meet his love. The film is a journey toward Block's home, his unending quest to know whether God really exists or not, and his meetings with people of multifarious kinds.
The film is filled with intelligent and contemplative dialogue of both kinds,…
''I met Death today. We are playing chess.''
Ingmar Bergman's 1957 hallowed masterpiece The Seventh Seal seems to exist in a pantheon of cinema greatness that is universally adored and cherished, with it's iconic symbolism and imagery imprinted on the minds and hearts of Cinephiles across all matter of time and space. As I ventured into my third viewing (the first in more than ten years), I was curious to discover whether the acclaim was still warranted, of which the answer was unequivocally 'Yes'.
I recently saw mentioned that Bergman's film Winter Light (made five years after this), is a modern retelling of the same themes in many ways, which is very astute considering what we know of the revered…
Much like Chaucer's Canterbury Tales, The Seventh Seal offers a cross section of Mediaeval life and while doing so it comments on our race, faith and life.
I don't know much about Bergman, but this feels like a personal exploration of an artist trying to figure out how he relates to God, the afterlife and his own mortality. Bergman does this by constructing a deeply philosophical allegory composed of classic iconic imagery and intelligent, contemplative dialogue.
In the Knight we find a man desperately clinging to life. Not because he is afraid to die, but because he needs answers. In a plague infested world he needs to understand why his God is silent. To buy time he challenges Death to…
My Great Uncle Jim, may he rest in peace, used to sit next to me at the dinner table every Thanksgiving and ask me "Hey Scott, seen any good movies lately?". Whatever I answered, if it was a film made after 1980 he would immediately show his disinterest and say "They just don't make em' like they used to", and I would roll my eyes and continue eating my dry turkey and canned cranberry sauce. I couldn't help but think of him while watching The Seventh Seal for the first time (that's right, first time, wanna fight about it?).
They really don't make films like The Seventh Seal anymore. At least, if they do, I certainly am missing out on…
Too short. Much shorter than what I've remembered, but it was six years ago when I last watched this masterpiece. Took me way too long to revisit and now I am deeply ashamed. From now on, I will whip myself for each time I've allowed a single dust particle to settle on the cover.
I crave for more. More! I want it to go on forever! The Seventh Seal has opened doors in my heart I never knew existed. The cobwebs are cleared, the lights switched on. Oh Bergman, how I've failed you. I must confess that I've barely touched your filmography so far. I'm an awful, awful person. Unforgivable! Everything I look for is right in front of me,…
The Seventh Seal was surprisingly more witty than I expected it to be, but even if it can be quite fun at times (I even laughed at several occasions), it's tone can suddenly change into a more serious one in just a few seconds, without feeling tonally inconsistent. Everyone in the film is constantly surrounded by death in some way. It of course takes place during the Black Death, where death was present everywhere. The one who probably deals the most with death, and even directly with the embodiment of death itself, is Max Von Sydow's character. He tries to deal with his fear of death, and in the very first scene of the movie, Death comes to take him,…
Meu primeiro filme de Bergman. Confesso que fiquei impressionado com a estética, os planos, com a fotografia. Mas nem deveria, afinal a palavra Estética (Ästhetisch) foi definida como "ciência da percepção" "apreciação da beleza" pelos alemães, que se apoderaram do original grego "Aisthētiké" (sensível, sentiente).
Bergman parece ser um grande diretor visual, mas sua escolha de narrativa e direção de atores parece datada. Talvez seja parte de um movimento alemão (ainda o impressionismo?), mas não aproveitei a parte filosófica como esperava (afinal, a idéia de jogar xadrez com a Morte foi o que me atraiu primeiramente à esse filme).
Visto em cópia restaurada, com uma qualidade que PQP, que qualidade... mais uma vez um elogio à fotografia, pois cada frame pode ser emoldurado e virar um quadro numa galeria.
Got to see a 35mm print of this on the big screen at the Milwaukee Film Fest. Quite a treat. The small screen just doesn't do it justice.
I had the privilege of seeing this on 35mm as a first time watch. What an amazing experience it was!
This film is nearly perfect to me. Some scenes I didn't enjoy in it but all around great. The script was my favorite part and my favorite character was Jons. Added the wit to a dark story line.
I have only seen a few Bergman films but so far I am not disappointed at all.
Bergman ' s most iconic film is a lot funnier than you would think. Seeing it on a good 35 mm print is a revelation.
(in 35mm at Milwaukee Film Fest)
This movie's really been growing on me since is saw it this evening. It just has such dark, arresting imagery and interesting musings on faith, life, death, and more. I'll have to see it a second time to write a worthwhile review but it was pretty impactful.
I had never seen it—in part, I suppose, because I was intimidated by its received rep as the classic arthouse film par excellence. Reading Patton Oswalt describe it as hilarious somehow gave me the necessary push. And I have to say that I didn't really find it that profound or spellbinding. Or funny, really, though I see what he means.
"So you know nothing?"
"I am unknowing."
I appreciate and love a lot of “boring,” art-house, classic films that are also considered masterpieces, but… I’m just so bored with this movie. If there’s anything highly influential, important, or unique about this movie, I don’t see it.
Mi iniciación con Bergman no podría haber ido mejor. Genial película que me augura una buena relación con el director sueco.
Combined the average ratings (Critic's & Users) from IMDb, Rotten Tomatoes, Metacritic and Letterboxd, and then weighted and tweaked the results…