Review of The Magician (1958) by Hunter D — 16 Dec 2010

Why isn't THE MAGICIAN a more widely discussed film in Ingmar Bergman's catalog? To me, THE MAGICIAN contains everything Bergman is known for. In Cahiers du cinï¿ 1/2 (C)ma, Oliver Assayas described it's place in Bergman's body of work as "one of the keys to his cinema." One struggles to find a better choice of words.

THE MAGICIAN (also known as THE FACE) is about a wandering band of illusionists led by the silent, enigmatic Dr. Vogler (Max von Sydow). They come upon a small Swedish hamlet where the village elders are concerned over reports of the effects Vogler's show has had on people in other towns, and are determined to expose Vogler and his crew as charlatans, leading to a battle of wits and trickery that escalates to a frightening climax.

The idea of Bergman being a boring, inaccessible filmmaker for an audience of snobs needs to disappear, as his most textured, interesting work is punctuated with moments of joy, levity, and horror. THE SEVENTH SEAL also comes to mind as film with heavy themes that is filled with emotions that run the gamut, though the tone most people remember is Max von Sydow's knight speaking solemnly with Death through the confessional. THE MAGICIAN is filled with practically every theme Bergman's work is known for, it's perfectly paced and never dull. While most film fans would probably point to THE SEVENTH SEAL as the perfect place to start with Bergman, I would actually encourage anyone unfamiliar with the man's work to start with this movie right here. As Assayas put it, it's "the key to his cinema," a film that will unlock a door for you and allow you the best introduction to the work of one of the greatest of filmmakers.