The Seventh Seal
Director: Ingmar Bergman
Duration: 96 min
Thursday 15 December 2016
Venue: Cinema Cottage London
Only club members and a companion (with advance booking)
كلبه سينما برگزار مي كند:
نقد و بررسی فيلم سينمایی مُهر هفتم، همراه با نمایش فیلم
کارگردان: اینگمار برگمن
پنجشنبه 15 دسامبر 2016
مكان: كلبه سينما
مختص اعضای کلوپ. اعضا می توانند یک همراه داشته باشند ولی باید از قبل اعلام کنند
مُهر هفتم (به سوئدی: Det sjunde inseglet) فیلمی سوئدی به کارگردانی اینگمار برگمان محصول سال ۱۹۵۷ است. این فیلم کمک قابل ملاحظهای به تبدیل شدن برگمان به کارگردانی بینالمللی کرد. بهویژه پس از آنکه فیلم در سال ۱۹۵۷ برنده جایزه ویژه هیئت داوران جشنواره فیلم کن شد.
فیلم در مورد یک شوالیه قرون وسطایی است که سفری را از سرزمین طاعونزده آغاز کرده است و یک بازی شطرنج میان او و مظهر مرگ که برای ستاندن جان او آمده است.
درباره فیلم (برگرفته از ویکی پدیا)
مُهر هفتم فیلمی بود که اعتبار جهانی برگمان را در میانه دهه ۱۹۵۰ تضمین کرد و آوازه او را در محافل هنری و فرهنگی همه کشورها گسترانید. برای بسیاری که میانه چندانی با سینما نداشتند، مُهر هفتم مظهر فیلمهای روشنفکرانه و «سنگین» شد. این ارزیابیها بیشتر متکی بر تحسین مایههای فلسفی و تمثیلپردازیهای فیلم بود. مُهر هفتم صریحترین و بیواسطهترین رویکرد به پرسش وجود خداوند است (پرسشی که در فیلم به گونههای مختلف پاسخ میگیرد) و در برابر پسزمینهای قرون وسطائی، وهم و جادو، سرگشتگی و ویرانی و اضطرابهای هستی شناختی خودنمائی میکنند. از لحاظ بصری نیز مُهر هفتم بسیار به یادماندنی است تصویر سلطه مرگبار طاعون، کورهراهها و چشماندازهای لخت و سرد، شطرنجبازی شوالیه با مرگ و رقص آئینی شخصیتها تنها چند نمونه از جلوههای دراماتیک کار هستند. فون سیدو و بیورنستراند در کنار یکدیگر میدرخشند و پوپ در نقش «یوف» بهترین بازی عمرش را ارائه میدهد. آندرسون و لیندبلوم که بعدها در فیلمهای برگمان مکرر حضور یافتند، نیز دیدنیاند.
About the film (from Wikipedia)
The Seventh Seal (Swedish: Det sjunde inseglet) is a 1957 Swedish drama–fantasy film written and directed by Ingmar Bergman. Set in Sweden during the Black Death, it tells of the journey of a medieval knight (Max von Sydow) and a game of chess he plays with the personification of Death (Bengt Ekerot), who has come to take his life. Bergman developed the film from his own play Wood Painting. The title refers to a passage from the Book of Revelation, used both at the very start of the film, and again towards the end, beginning with the words “And when the Lamb had opened the seventh seal, there was silence in heaven about the space of half an hour”.[Rev. 8:1] Here the motif of silence refers to the “silence of God,” which is a major theme of the film.
The Seventh Seal is considered a classic of world cinema. It established Bergman as a world-renowned director, containing scenes which have become iconic through homages, critical analysis, and parodies.
Disillusioned knight Antonius Block (Max von Sydow) and his nihilistic squire Jöns (Gunnar Björnstrand) return after fighting in the Crusades and find Sweden being ravaged by the plague. On the beach immediately after their arrival, the knight encounters Death (Bengt Ekerot), personified as a pale, black-cowled figure resembling a monk. The knight, in the middle of a chess game he has been playing alone, challenges Death to a chess match, believing that he can forestall his demise as long as the game continues. Death agrees, and they start a new game.
The other characters in the story, except for Jof in the end, do not see Death, and when the chess board comes out at various times in the story, they believe the knight is continuing his habit of playing alone.
The knight with his squire heads for his castle. Along the way, they pass some actors, Jof (Nils Poppe) and his wife Mia (Bibi Andersson), with their infant son, Mikael, and their actor-manager, Skat (Erik Strandmark). Jof is also a juggler and has visions of Jesus and Mary, but Mia is skeptical of them.
The knight and squire enter a church where a fresco of the Dance of Death is being painted. The squire draws a small figure representing himself. The knight goes to the confessional where he is joined by Death in the robe of a priest, to whom he admits that his life has been futile and without meaning, but that he wants to perform “one meaningful deed.” Upon revealing the chess strategy that will save his life, the knight discovers that the priest is Death, who promises to remember the tactics. Leaving the church, the knight speaks to a young woman (Maud Hansson) who has been condemned to be burned at the stake for consorting with the devil.
Shortly thereafter, the squire searches an abandoned village for water. He saves a servant girl (Gunnel Lindblom) from being raped by a man robbing a corpse. He recognizes the man as Raval (Bertil Anderberg), a theologian, who 10 years prior had convinced the knight to leave his wife and join a crusade to the Holy Land. The squire promises to brand the theologian on the face if they meet again. The servant girl joins the squire. The trio ride into town, where the actors met earlier are performing. The actor-manager introduces the other actors to the crowd, then is enticed by Lisa (Inga Gill), the blacksmith’s wife, away for a tryst. They run off together. The actors performance is interrupted by the arrival of a procession of flagellants.
At a public house, the juggler meets Raval who forces him to dance on the tables like a bear. The squire appears and, true to his word, slices the theologian’s face. The knight enjoys a country picnic of milk and wild strawberries gathered by the wife of the juggler. The knight says: “I’ll carry this memory between my hands as if it were bowl filled to the brim with fresh milk…And it will be an adequate sign – it will be enough for me.” He invites the actors to his castle, where they will be safer from the plague.
Along the way, they come across the actor-manager and the blacksmith’s wife in the forest. Dissatisfied with him, she returns to her husband. After the others leave, the actor-manager climbs a tree for the night. Death cuts down the tree, informing the actor that his time is up.
They pass the condemned young woman again. The knight asks the woman again to summon Satan, so he can ask him about God. The girl claims already to have done so, but the knight cannot see him, only her terror. He gives her herbs to take away her pain.
The theologian reappears. Dying of the plague, he pleads for water. The servant girl attempts to bring him some, but the squire stops her. The juggler tells his wife that he can see the knight playing chess with Death, and decides to flee with his family while Death is preoccupied.
After hearing Death state “No one escapes me” the knight knocks the chess pieces over, distracting Death while the family slips away. Death places the pieces back on the board, then wins the game on the next move. He announces that when they meet again, the knight’s time—and that of all those traveling with him—will be up. Before departing, Death asks if the knight has accomplished his one “meaningful deed” yet; The Knight replies that he has.
The knight is reunited with his wife, Karin (Inga Landgré), the sole occupant of his castle, all the servants having fled. The party shares one “last supper” before Death comes for them. The knight prays to God, “Have mercy on us, because we are small and frightened and ignorant.”
Meanwhile, the little family sits out a storm, which the juggler interprets to be “the Angel of Death and he’s very big.” The next morning, the juggler, with his second sight, sees the knight and his followers being led away over the hills in a solemn dance of death.
- Gunnar Björnstrand – Jöns, squire
- Bengt Ekerot – Death
- Nils Poppe – Jof
- Max von Sydow – Antonius Block, knight
- Bibi Andersson – Mia, Jof’s wife
- Inga Landgré – Karin, Block’s wife
- Åke Fridell – Blacksmith Plog
- Inga Gill – Lisa, blacksmith’s wife
- Erik Strandmark – Jonas Skat
- Bertil Anderberg – Raval, the thief
- Gunnel Lindblom – Mute girl
- Maud Hansson – Witch
- Gunnar Olsson – Albertus Pictor, church painter
- Anders Ek – The Monk
- Benkt-Åke Benktsson – Merchant
- Gudrun Brost – Maid
- Lars Lind – Young monk
- Tor Borong – Farmer
- Harry Asklund – Inn keeper
- Ulf Johanson – Jack’s leader
Bergman originally wrote the play Trämålning (Wood Painting) in 1953/1954 for the acting students of Malmö City Theatre. The first time it was performed in public was in radio in 1954, directed by Bergman. He also directed it on stage in Malmö the next spring, and in the autumn it was staged in Stockholm, directed by Bengt Ekerot who would later play the character Death in the film version.
In his autobiography, The Magic Lantern, Bergman wrote that “Wood Painting gradually became The Seventh Seal, an uneven film which lies close to my heart, because it was made under difficult circumstances in a surge of vitality and delight.” The script for the Seventh Seal was commenced while Bergman was in the Karolinska Hospital in Stockholm recovering from a stomach complaint. It was at first rejected[who?] and Bergman was given the go-ahead for the project from Carl-Anders Dymling at Svensk Filmindustri only after the success at Cannes of Smiles of a Summer Night Bergman rewrote the script five times and was given a schedule of only thirty-five days and a budget of $150,000. It was to be the seventeenth film he had directed.
All scenes except two were shot in or around the Filmstaden studios in Solna. The exceptions were the famous opening scene with Death and the Knight playing chess by the sea and the ending with the dance of death, which were both shot at Hovs Hallar, a rocky, precipitous beach area in north-western Scania.
In the Magic Lantern autobiography Bergman writes of the film’s iconic penultimate shot: “The image of the Dance of Death beneath the dark cloud was achieved at hectic speed because most of the actors had finished for the day. Assistants, electricians, and a make-up man and about two summer visitors, who never knew what it was all about, had to dress up in the costumes of those condemned to death. A camera with no sound was set up and the picture shot before the cloud dissolved.”
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YouTube link to the whole film