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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:

Ingmar Bergman (uncredited)

Writers:

Emanuel Schikaneder (libretto), Ingmar Bergman (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:
Josef Köstlinger ... Tamino
Irma Urrila ... Pamina
Håkan Hagegård Håkan Hagegård ... Papageno
Elisabeth Erikson Elisabeth Erikson ... Papagena
Britt-Marie Aruhn Britt-Marie Aruhn ... Första damen (First Lady)
Kirsten Vaupel Kirsten Vaupel ... Andra damen (Second Lady)
Birgitta Smiding Birgitta Smiding ... Tredje damen (Third Lady)
Ulrik Cold ... Sarastro
Birgit Nordin Birgit Nordin ... Nattens Drottning
Ragnar Ulfung Ragnar Ulfung ... Monostatos
Erik Sædén Erik Sædén ... Talaren
Ulf Johansson ... Andra prästen (Second Priest)
Gösta Prüzelius ... Första prästen (First Priest)
Jerker Arvidson Jerker Arvidson ... Vakt i Prövningarnas Hus
Hans Johansson 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:

The Magic of Bergman. The Magnificence of Mozart See more »


Certificate:

G | See all certifications »

Parents Guide:

View content advisory »
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Details

Country:

Sweden

Language:

Swedish

Release Date:

1 January 1975 (Sweden) See more »

Also Known As:

The Magic Flute See more »

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Box Office

Budget:

$650,000 (estimated)
See more on IMDbPro »

Company Credits

Production Co:

Sveriges Radio See more »
Show more on IMDbPro »

Technical Specs

Runtime:

Sound Mix:

Stereo

Color:

Color (Eastmancolor)

Aspect Ratio:

1.37 : 1
See full technical specs »
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Did You Know?

Trivia

One of the people shown repeatedly during the overture is Alootook Ipeelie, one of Canada's best-known Inuit artists and poets. Ipeelie was attending a meeting of the International Inuit Circumpolar Conference in Stockholm during the production, and was picked off the street because of his unusual features. See more »

Crazy Credits

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

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User Reviews

 
A theatrical experience made cinematic
10 February 2003 | by Oblomov_81See all my reviews

Adapting theater to the screen is not easy. It is difficult enough to film a play; staying too close to the text can render the tone too "stagy," while "opening up" the story can cause it to lose its authentic feel. Filming opera is twice as problematic- there is so much that is rooted to the stage and simply cannot be pulled away. How is it possible to film something that has been performed in such a specific, disciplined way for hundreds of years and keep all the elements fully intact? The answer has been provided by Ingmar Bergman, a man known to most of the world for harrowing films which peer unsentimentally into the depths of the human soul. With "The Magic Flute," Bergman takes another great talent of his- theater direction- and combines it with his cinematic abilities to create an elaborate fantasy that even his detractors can enjoy.

Rather than just treating Mozart's opera as a story to be filmed, Bergman relies on familiar themes within the narrative to strike a balance between the stage and the screen while keeping the audience involved throughout. This is not to say that the story is simplified or made abundantly clear to any half-attentive viewer; the surprising accessibility of the film comes not from any reconstruction of the story but rather from an emphasis on elements that today's audience can easily recognize: sacrifices that are made for love, rebellion against the amoral nature of one's community, and magical occurrences that pop up just in time to save the hero, to name a few. Although the opera itself unfolds on a stage, with frequent reaction shots of the audience, Bergman's direction keeps us so deeply involved that tone is distinctly that of a film. Indeed, `The Magic Flute' proves to be a very cinematic opera, and there are moments when the imagery, theatrical as it is, becomes so overwhelming that Bergman has to cut to the audience to remind us that we are in a theater.

`The Magic Flute' is evidence that the `epic' existed long before movies, and that much of what we enjoy viewing today owes its style to stories that have been told through vastly different mediums for centuries on end.


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