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Ansiktet (1958)

Director: Ingmar Bergman

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From Time Out Film Guide

Widely underrated, probably because of its strong comic elements and a tour-de-force scene derived from horror movie conventions, Bergman's chilling exploration of charlatanism is in fact one of his most genuinely enjoyable films. Von Sydow is the 19th century magician/mesmerist Volger, on the run with his troupe from debts and charges of blasphemy, whose diabolical talents are put to the test by the cynical rationalist Dr Vergerus (Björnstrand); their clash results in humiliation, doubt, and death. Much of the film is devoted to wittily ironic sideswipes at bourgeois hypocrisy; more forceful, however, is the way Bergman transforms Volger's ultimately futile act of revenge into a sequence of nightmarish suspense.

Author: GA 0000-00-00 00:00:00

Time Out Film Guide

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Technoguy said...

Posted on Aug 13 2008 00:16 The Magician is a magical early 50’s film from Bergman. He opposes to the magic
of Vogler’s Magnetic Health Theatre the cold rationalism of Dr. Vergerus and
the other government officials, the chief of police and the consul. In 1846 the
travelling troupe are on the run and are heavily disguised. Ingrid Thulin acts
as a male assistant to her husband Dr. Vogler, who is himself disguised behind a false hair and beard. They have a director of the Co. who sales their act to new
customers. The old woman with them, a witch, sells love potions. Is Vogler a
charlatan or a man with supernatural powers? Vogler’s face in disguise as a mute
is messianic. He represents to Vergerus “what cannot be explained”. However
science can penetrate all mysteries. Vogler and his troupe are submitted to questions
in such a humiliating manner to unmask their fraud. They have been invited to stay at the inn where they are to perform. There are elements of fairy tale and horror show,
ghosts, dying and dead actors. In one of the acts the chief of police’s wife reveals he’s
a fraud. Another man, a driver, attempts to kill Vogler to escape his power. Vogler enacts a terrible revenge on Dr. Vergerus. In this little allegory Bergman was drawing
on his theatrical experiences: the duality of artists in a closed world of illusions and
the ambiguous relationship with the world outside. He had to beguile the audience.
Film represented the longing for pure artistry(the dying actor expresses this). Bergman’s true target was a film critic married at the time to Thulin. This film is a perfect example of the best of his early work. Von Sydow’s illusionist is related to
the wordless actress Vogler (L.Ullman ) in Persona.

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