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The Magic Flute (1975)

Trollflöjten (original title)
The Queen of the Night offers her daughter Pamina to Tamino, but he has to bring her back from her father and priest Sarastro. She gives a magic flute to Tamino and magic bells to the bird ... See full summary »

Director:

(uncredited)

Writers:

(libretto), (screenplay) | 1 more credit »
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Nominated for 1 Oscar. Another 3 wins & 2 nominations. See more awards »
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Cast

Cast overview, first billed only:
...
...
Håkan Hagegård ...
Elisabeth Erikson ...
Britt-Marie Aruhn ...
Första damen (First Lady)
Kirsten Vaupel ...
Andra damen (Second Lady)
Birgitta Smiding ...
Tredje damen (Third Lady)
Ulrik Cold ...
Birgit Nordin ...
Ragnar Ulfung ...
Erik Sædén ...
Talaren
Ulf Johansson ...
Andra prästen (Second Priest)
Gösta Prüzelius ...
Jerker Arvidson ...
Vakt i Prövningarnas Hus
Hans Johansson ...
Vakt i Prövningarnas Hus
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Storyline

The Queen of the Night offers her daughter Pamina to Tamino, but he has to bring her back from her father and priest Sarastro. She gives a magic flute to Tamino and magic bells to the bird hunter Papageno, who follows Tamino and wants to find a wife. The duo travels in a journey of love and knowledge. Written by Claudio Carvalho, Rio de Janeiro, Brazil

Plot Summary | Add Synopsis

Taglines:

We only see Bergman, we only hear Mozart


Certificate:

G | See all certifications »

Parents Guide:

 »
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Details

Country:

Language:

Release Date:

1 January 1975 (Sweden)  »

Also Known As:

The Magic Flute  »

Box Office

Budget:

$650,000 (estimated)

Gross:

SEK 303,885 (Sweden)
 »

Company Credits

Production Co:

 »
Show detailed on  »

Technical Specs

Runtime:

Sound Mix:

Color:

(Eastmancolor)

Aspect Ratio:

1.37 : 1
See  »
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Did You Know?

Trivia

The film's soundtrack is the first ever recorded in stereo for a television production. See more »

Crazy Credits

There are no onscreen credits in this film, other than the title. See more »

Connections

Referenced in The Voice of Bergman (1997) See more »

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User Reviews

 
an uncommonly heartwarming film from Ingmar Bergman, splendid music and footage
7 August 2006 | by (United States) – See all my reviews

The Magic Flute is a special kind of movie that may work better for fans of Mozart, or work better for fans of Bergman. And in general if you like opera it might hit your 'wow' button as being something different. Before getting to it, I was almost taken aback as I watched it, as I thought perhaps Bergman had picked this opera due it being incredibly tragic or emotionally draining (as I didn't know much about the opera aside from it being a Mozart one).

It turns out this might be one of the only operas- maybe THE only- one I would consider ever watching again, or even hearing. As I'm not that big a fan of the kind of music (unless it's being done by Visconti on film or Woody's Match Point), it was a pleasant surprise to see Bergman make the opera right on the stage, putting all the artifice where it belongs. The very beginning of the film is particularly striking and interesting, with all of the close-ups suggesting this could be something different than it is- maybe something more 'heavy'- as it is once again lensed by Sven Nyvkist. But it isn't; this, along with Smiles of a Summer Night, are the most light-hearted films ever made by the usually tragic and introspective filmmaker.

Mozart's tale is that of any given fairy tale, the kind that you either give yourself completely to as when you were a kid or not much at all. Sometimes one of the problems that comes when I try and watch an opera is really 'getting' a story out of it when I'm more focused on the singing and pageantry. But Mozart's story is simple enough- about a man (Tamino, played by Josef Kostlinger) trying to find a woman (Pamina played by Irma Urrilla) who has been offered to her by her mother the Queen, even as a bird hunter follows him.

It could be a possible deterrent, too, with having the opera in total Swedish (sometimes glancing down at the words, all simple to a level little children might sign at), but I didn't mind that much either after a while. This is partly due to Bergman and Nykvist (and the production design and costumes and such, all lending to the more wonderful theatrical productions that Bergman was always capable of) keeping a good, lush hold on the production values and mood. But it's also due to the performers being rather good in their archetypal roles.

Along with this, Bergman incorporates this as being a production going on by once in a while going backstage as the opera goes through its motions, more or less, with ease. It's a nice send-up to have that, as Bergman recognizes that through all of the cheesy bits of sets and lights, the actors are really what counts. And, of course, the filmmaker also shows a genuine affection for the music, and it becomes one of Mozart's most memorable, lively pieces at different points, providing moving melodies and songs, and even some doses of comedy with the couple Papageno and Papagena.

It might not be for those who just can't take opera or classical music, and it might be strange for some Bergman fans to see right after Cries and Whispers or Shame. But if you give yourself to the material, and realize how beautiful escapist it can be, Bergman still kicks in his own style, without too much getting in the way, and it often fits together without conflict. A-


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