Too much of everything

That was an excellent one.

Blistering performances.

This is a small, humorous movie in some ways, but it has a huge heart. What a nice experience.

As much as I enjoy the idea of playing chess with death and the dialogue between the two, I can't ignore the plainness that I felt in the gaps between the chess games. It's an interesting insight to Ingmar Bergman's mind and it is well done but it is also a bit dragged out and IMO not as incredible as the mass of 10/10 reviews would point towards.If you historically contextualize it, it is no doubt addressing philosophical questions in a far more open and poetic way than many would dare, all while maintaining a dark & lovely feel buttt it's a little rough watching it in 2018.

Ingmar Bergman is a director of unparalleled brilliance. Since his first script, 1944's Torment, Bergman has always delivered thoughtful and engaging films that delve deep into humanity. Be it relations between one another, our consciousness and subconsciousness, or any number of various facets of our existence, Bergman cuts to the very core of humanity and bring to light these many layers and elements in exceedingly artful ways. And one of the great tales told by the Swedish titan that demonstrates this well is his cherished and revered classic, The Seventh Seal.The Seventh Seal is a masterful piece of filmmaking that explores man's relationship with religion in medieval times, a time when the Church had a stranglehold on feudal Europe. The story of disillusioned knight Antonius Block, played by the impeccable Max von Sydow, returning from the grueling Crusades to lands ravaged by the Great Plague and taking on Death itself, portrayed by the chilling Bengt Ekerot, in a chess match for his life is one of the most simple yet complex tales captured on celluloid. Alongside this central battle is a colorful cast of side characters, including he blissful pair of actors Jof & Mia, played by Nils Poppe & Bibi Andersson respectively, and Block's squire Jöns, brought to life with delightfully dry wit by Gunnar Björnstrand, who flesh out the dark world of medieval Sweden and provide levity and even humor in the midst of the grim conflict and existential inquires made by Block.Bergman's script, adapted from a play of his titled Wood Painting, is somewhat on the nose in its mulling over of faith, death, and existence. But to a degree, what Bergman crafted was an adult fairy tale. The Seventh Seal is a story you could tell a child as it is simple in its narrative and its developments, but is rich in imagery and allusion, taking its title from and quoting at the outset from the eighth chapter of the Book of Revelations. Block's passionate search for knowledge and constant crisis of faith is engaging on a philosophical and personal level, aided by the impassioned performance provided by Sydow. The premise is a simple piece of high fantasy, but it delves into it themes openly and in depth. British author Melvyn Bragg put it best when he described the film as having an argumentative structure and being "told as a sermon might be delivered: an allegory." Adding to these inquiries and the sharp discussions between Block and Death in the midst of their match are characters such as Jof & Mia that bring a certain level of hope to the piece, as both are pleasant and optimistic for a fair portion of the film, with Jof being almost prophetic in a way, being able to see visions of both Mary and a young Jesus, and ominous premonitions of the effects of the Great Plague. And then there is the squire Jöns, an unadulterated cynic who, as described by American author and film historian Gerald Mast in his book A Short History of the Movies, "treats death as a bitter and hopeless joke." These supporting roles help to build the world and the themes of death and faith through their interactions with Block. All in all, the script, in spite of its bluntness, is exceptionally articulate and works wonders with its straightforward but fantastic premise.On the technical side, The Seventh Seal is a low-budget marvel, knowing that it was made on a pauper's budget of $150,000. Bergman's direction is inspired in its bleak tone that pairs well with the equally dark concepts presented in the script. He approaches the film rather intellectually, showing chilling images of an ill woman writhing in pain being looked over by a monk, and depicting Death as incredibly callous in a famous scene involving the felling of a tree. Every actor and actress is clearly invested. Sydow, Ekerot, Björnstrand, Andersson, throw a dart, and the name you hit is giving his or her all in the role. The chemistry between the characters is spectacular, with Sydow and Ekerot boasting one of the most impressive dichotomies in committed to celluloid. Gunnar Fischer's expressionistic cinematography was universally lauded upon release, and rightfully so. The gothic and pastoral medieval imagery is elegantly captured with impressive lighting schemes and excellent framing, with the introduction of Death and the "Danse Macabre" being the two iconic shots that bookend the film. P.A. Lundgren's production design and Manne Lindholm's costume design go hand in hand in creating the lived-in world of medieval Sweden, with big props going to Lindholm in draping Death with the iconic black cloak. Also of note is the inspired score by regular collaborator Erik Nordgren, whose liberal use of the Latin chant Dies Irae, general implementation of choral passages, and orchestral mannerisms reminiscent of celebrated American composer Bernard Herrmann enrich the film through heightening the grimness and further enveloping the audience in the atmosphere of the period.At the end of the day, The Seventh Seal is deservedly a classic. It is a film that blatantly ponders the nature of faith and death, but does so in an engaging and personal way. Through a combination of Bergman's well-crafted characters and each actor's pitch-perfect execution, you become invested in all facets of this world. You are there with Block in taking on Death, and you too want to know the answers, you want the knowledge he seeks, you too want "God to stretch out His hand." The production values are top notch, especially knowing that the budget afforded to Bergman was so small. But at the end of the day, it is a film that has to be seen to truly appreciate. So in closing, go and watch this film. If you consider yourself a fan of cinema, or are an aspiring filmmaker, simply take some time to watch this masterclass of medieval fantasy and world cinema.

The movie that gave us the Grim Reaper as we know it today. Ingmar Bergman's The Seventh Seal (SS) is a profound examination of faith, the searching of God and human will. Ingmar Bergman (IB) was famous for portraying and analyzing in his movies topics such as death vs life, madness vs sanity, God vs nothing... This is that kind of movie I see as a challenge, because it's hard to understand it at first glimpse; unless you're a literate or someone learned deeply in philosophy or art appreciation. IB was from those movie directors that every movie, or at least most, he made presented a point of view or a hard analysis. In this case: Where is God?... He chose perfectly the age of the movie: a time where everything wrong with the world was a punishment from heaven and people's ignorance was the foundation for religion supremacy.Antonius Block (AB) is the protagonist in this search of meaning. A determined and rough man whose face looks wooden shaped. He has trouble believing, his faith has fallen to the height of his feet and can't find a reason to continue living. As he says in one scene, we must believe in unseen miracles. Any person who has had a faith crisis will be immediately identified with AB, and will have no trouble following his journey.It is interesting how IB chose his characters. Jof and Mia stand for Joseph and Mary in English; though their son's name is Mikael (Mike). Was this a coincidence? Some message from heaven for AB? A guide for his journey? This trinity is the merriest thing in the whole movie, a representation of hope in the middle of a Black Death drowned Sweden.AB looks without finding nothing, talks to a witch hoping to speak with the devil. Why? Because if the devil exists, also God. The scene of the flagellant's procession is something short of shocking, and beautiful, and impressive. The heaviness of soul and the masochist relation between man and his maker.Full of metaphors and surrealism, the SS started a more serious look of religion in following years in cinema. Not only that, but immortalized the personification of death in popular culture (pop culture). The chess match between Death and AB is one of the most iconic in movie history. Damn well chosen, from all board games, which else but chess. Well done IB.IB's style is clear. Static camera work, some close ups and skillful use of colors. The grey sea, the whiteness of death and darkness of his cloak, and many other aspects are IB's work. The movie's tone and pace that he delivers are the mainstay for transmitting the very questions from his childhood. Son of a Lutheran minister he lived his first years surrounded by religion, so you can imagine the environment.The movie's very ending is a message for all of us of memento mori, the "danse macabre". Our life's are fragile and we must take care of them as the most beloved treasure.A masterpiece in its own right, the SS may prove difficult and boring for some. The movie feels like a Shakespearean play put in front of camera. But the dialogue feels great, and the moments of comedy as well. Squire Jöns has become of one of my personal favorites, a medieval Swedish Chandler Bing.For closure, actual movie lovers may find nothing in the SS. The first time I saw it couldn't find much in it. But for understanding, a second watch and reading about the film, it's worth it. Once you understand the SS, you get why it let and created so many standards, and why is considered a world classic.My final consensus: A classic and masterpiece in its own right, The Seventh Seal is a profound examination from Ingmar Bergman about a quest we all can relate to. A challenge that not all will like to take, but for those willing to, it will be rewarding all its 96 minutes.

On the Criterion Collection interview with Ingmar Bergman, he relates that he wrote the chess scene over his own fear of dying. This would have been an immensely interesting idea to explore, but after he mentions it, the interview is practically over. That left me rather frustrated.The film itself may also leave one rather frustrated, as it explores the principal character agonizing over God's unwillingness to show His face and answer his existential questions about the meaning of life and the certainty of death. When Death (Bengt Ekerot) makes his entrance to claim him a victim, Antonius Block (Max von Sydow) challenges the Grim Reaper to a game of chess, the winner to exact his own reward. The Knight must quickly readjust his game plan after he unwittingly reveals his strategy to the black clad harvester of souls.The film is set during the time of the Black Plague, following a 'worthless' crusade of ten years that the Knight and his Squire Jons (Gunnar Bjornstrand) participated in. All around them are wanderers half crazed with fear at the thought of the Plague approaching. All the time Death appropriates his victims, he claims to know nothing and hold no secrets. Fearing his own demise, Block (Bergman?) disrupts the chess board, intent on prolonging his existence in a world full of uncertainty."The Seventh Seal" is Bergman's stunning allegory of man's search for meaning, but what I've come to understand after many years is that each person must come to terms with himself from within. Attempting to extract answers from a single source is bound to end in disappointment, trapped if you will in a Knight's world of phantoms and dreams more like nightmares. This is the kind of film that presents more questions than answers, as I'm sure Bergman understood and intended.