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 ...
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Rational, exacting, and self-controlled theater director, Henrik Vogler, often stays after rehearsal to think and plan. On this day, Anna comes back, ostensibly looking for a bracelet. She ... See full summary »
A judge in an unnamed country interviews three actors, together and singly, provoking them while investigating a pornographic performance for which they may face a fine. Their relationships... See full summary »
Marianne, some thirty years after divorcing Johan, decides to visit her ex-husband at his summer home. She arrives in the middle of a family drama between Johan's son from another marriage and his granddaughter.
Don Juan is sent from Hell to Earth with a highly important mission - to seduce a 20-years virgin for spoiling her pure wedding. The mission becomes crazy when Don Juan falls in love for the first time in his centuries-old lover's career.
A seemingly happy Swedish housewife and mother begins an adulterous affair with a foreign archaeologist who is working near her home. But he is an emotionally scarred man, a Jewish survivor... See full summary »
Max von Sydow
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
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 »
There are no onscreen credits in this film, other than the title. See more »
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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