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Archive for March 21st, 2019

 © 2019 by James Clark

      This is a film so dependent upon its sense for Bergman’s previous output, and even for Bergman’s subsequent work, that it sustains the adage, “Go full out, or forget about it entirely.” But adages can be wrong; and here we welcome one and all to a breathtaking tone poem, which we hope can benefit from a few suggestions.

On the face of it, The Magician (1958), features an intense protagonist, leading a crew so heterogeneous as to wonder how their objectives can succeed. They first come to us in the countryside, at a pause in their horse-driven coach. The vehicle is affixed with the sign, “Vogler’s Magic Health Theatre.” The black and white optics induce silhouette along a ridge, the virtual trademark of the film, The Seventh Seal (1957), where a couple, Jof and Marie ply the far-flung roads in a caravan advertising their circus musicale.Those two carniesmanage to transcend the deadliness of the ridge (the seduction of death and its happy ending), by virtue of Jof’s blessing of his baby boy, to be a great acrobat and a juggler capable ofan impossible trick.Although Jof and Marie made their breakaway in the 12th century, those traces of magic lean heavily upon Vogler, in Sweden, in the 19th century.Therefore, while far from playful banter disturbs the “Health Theatre,” the opportunity to see deeply into the nature of conflictnever flags. (more…)

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