A Victorian surgeon rescues a heavily disfigured man who is mistreated while scraping a living as a side-show freak. Behind his monstrous facade, there is revealed a person of intelligence and sensitivity.
A Knight and his squire are home from the crusades. Black Death is sweeping their country. As they approach home, Death appears to the knight and tells him it is his time. The knight challenges Death to a chess game for his life. The Knight and Death play as the cultural turmoil envelopes the people around them as they try, in different ways, to deal with the upheaval the plague has caused. Written by
John Vogel <email@example.com>
The title is a Biblical quotation from The Revelation of St. John the Divine, chapter 8. See more »
The chess players focus on capturing the Queen. The Queen was not a super-powerful piece until centuries later when a recent chess-variant initially called "chess of the mad queen" became more popular than the classic game. See more »
[Jonas Skat is in a tree which Death is cutting down]
Hey, you scurvy knave, what are you doing with my tree? You might at least answer. Who are you?
I'm felling your tree. Your time is up.
You can't. I haven't time.
So you haven't time?
No. My performance...
Cancelled... because of Death.
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One thing that can be certain after watching the Seventh Seal, outside of being thankful for living in this century, is that Bergman knows his film-making- and imagery. He uses subliminal and not so subliminal techniques to convey a dying, frightened world, where making a living is almost impossible and the debate of god's control over life is discussed like un-rhyming yet fascinating poetry.
The result is beautiful cinema, capturing the always foreboding fear and allure of the almighty and for the waiting death, appropriately staged in post-crusades, mid dark age Europe. Max Von Sydow gives an excellent showing as the opponent of Death (in a clever and meticulous chess game), yet the character of Death, played by Bengt Ekerot with chilling conviction, steals the show, if only for the alluring quality of the character.
Even if the story veers it veers in good and interesting territory, focusing on people who convey Bergman's point and or style. I can't reveal what the bottom line point is (many newcomers to Bergman's work won't either, especially if you're not in the mood for soul searching), but one thing is for certain, an allegory on life and death is shown perfectly in the second to last shot of the reaper and his minions following in a dance across the field. This is one of the most pure of cinema's masterpieces and certainly Bergman's best cine. A++
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