Review of The Virgin Spring (1960) by Matthew S — 30 Jan 2011

This is a stunning Ingmar Bergman film. Set in 14th century Sweden, it tells the story about Karin who is brutally raped and murdered before the perpetrators unwittingly arrive at her parent's house asking for shelter. Whilst there, they offer the mother clothes allegedly belonging to their dead sister in exchange for payment. Instantly recognising them as the clothes she had dressed her daughter in that day before she went missing, and seeing the blood stains on them, she alerts her husband (Max Von Sydow) and they take little time in deciding the fate of their guests.

Unlike the infamous Last House On The Left (which although cites Virgin Spring as an influence, it is more of a remake), Bergman's family are god fearing and the violence is not sustained longer than it needs to be. There is contemplation and regret and the scenes in which Von Sydow prepares for his acts of revenge by self flagellation with such vigour, followed shortly by him sitting patiently awaiting dawn, contrast vividly from the happy and loving father of the beginning of the film. So too does the scene at the end of the film, when confronted with his daughters body.

Even with the level of violence in today's films, Virgin Spring holds its ground and stands the test of time. Perhaps the purity of Karin's innocence and naivety when meeting her murderers increases the power of the crimes they commit, and perhaps her parent's religious pursuits increases equally the power of their revenge.

There is a magical simplicity and charm to Virgin Spring that is contrasted by dark and suggestive sub-plot lines. There is the jealous and unruly step sister Ingeri who is pregnant without a husband; the social activities of the perhaps not so innocent Karin; the scene with the bridge keeper in which he offers shelter to Ingeri and yet his motives seem all too sinister; and even that Ingeri prays to Odin, and does not follow the religious beliefs of her parents.

Ultimately these contrasts add depth and complexity to the story and complement the natural beauty of Karin and the locations where she lives and journeys, with an undertone of discomfort and evil.