The Virgin Spring, which won the 1961 Academy Award for Best Foreign Film, was the inspiration for the film Last House on the Left, which I didn't care for. The latter film was made into another mediocre suspense film. These three films ultimately trace their roots back to the middle ages, to a Swedish ballad titled Tores Dotter I Wange. From the 13th Century to the 21st Century, something got lost in the translation.
The Virgin Spring isn't a bad film...it is actually pretty good. The film is packed with interesting themes and was ground-breaking for 1961. There is a rape scene in the film that I found a bit questionable even by today's standards. Although the rape scene does not have any nudity, it is graphic and violent. This film could easily be adapted into a Korean revenge film, and might even excel in that format (as if the story hasn't been adapted enough already).
Max Van Sydow is Tore, a wealthy landowner who is firm, powerful and less pious than his wife Mareta (Brigitta Valberg). Their only progeny is a spoiled daughter, Karin (Brigitta Pettersson), who seems to have a heart of gold to match her childish disposition. Ingera (Gunnel Lindblom) is a jealous laborer who accompanies Karin on her journey to deliver candles to the church. It is during this journey that Karin is accosted and brutally raped by two herdsmen as their younger brother and Ingera watch from a distance. The fate of all of the characters cross paths later in the film leading to events that delve into the questions of morality, justice and ultimately...redemption.
The Virgin Spring is visually appealing with plenty of subtle imagery worked into the film. The dark black and white provides stark contrasts that are exploited to the fullest extent. The pacing is slow at times, especially during the first thirty minutes. The characters are developed decently but a bit predictable. The dialogue is interesting and the interactions between Ingera and Karin intriguing. The two have a puzzling, unique relationship. The thematic material covers a variety of issues and simply presents the facts for the audience. The films does tie things together with a scene indicating redemption at the end.
Max Von Sydow has a sinewy look that makes him seem young, vibrant and powerful. His command of the set makes his character, Tore, believable. A more difficult role was that of Ingeri, which Lundblom handles well. The character has some deep issues which are hard to fathom early in the film but are brought together nicely in a scene that sheds some light on her character. Pettersson was okay as Karin and reminded me a bit of Nellie Olsen from Little House on the Prairie without the snobbishness. Her performance was decent, although I had trouble accepting a child this sheltered could have existed in the middle ages. The cast combined strong performances to bring emphasis to the moral aspects of the script.
A quick warning about the violence in this film. The version I watched did not have a rating, but contained material that parents should be aware of. The rape scene involved a minor, was visibly brutal and culminated in a murder. Although there was no "sex" or nudity, the rape scene itself was troubling. There were two additional murder and violence against another child. The scenes of violence have low gore factors but should be taken into consideration. Mature pre-teens should be fine with this subject matter. Run time is one hour, 29 minutes.
It took a while for me to become absorbed by The Virgin Spring. It is a decent tale but was woefully slow at the start. The film presents decent thematic material in a variety of ways but does not make judgments. The varied themes are meant to stimulate conversation without interjecting its own conclusions. A final theme does have closure interjected for the benefit of the audience, striking a balance between contrition and redemption. Moderately recommended. 7/10.
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