The Magician

An astonishing confrontation. Think of it as the thought process, or action and inaction, between science and superstition. One of Bergman's most artistic scripts, and some truly arresting direction. Dang.

A black comedy mocking, of all things, the post-Reformation debate between reason and superstition - but here told through sex, drag, a ghost who won't quite die, a Papageno wannabe and a 220-year-old witch. While the Magician's facades (and the cinematic trappings that help him along) all dissolve by the film's end, does that mean reason wins? Kinda. Not really. Sometimes all you can do is laugh.

Bergman, ever the pessimistic spiritualist, turns the tables by criticizing cold rationalism. It's interesting to think of Vogler as a metaphor for Bergman himself, an illusionist frustrated by a disillusioned audience. Even still, he walks the middle line by skewering disingenuous performers in disguise. Everyone is looking for some great truth, but as the down-and-out drunkard puts it: "One goes step by step into darkness, the movement itself is the only truth."

A vaudevillian masterpiece from Bergman punctuated with moments of his trademark austerity. A deceptively complex critique of the dangers of unbridled positivism, and the irrepressible human need for faith (of the spiritual kind). But, as Bergman makes clear, a life worth living is also a life of the flesh (lust is not such a bad thing even if disguised as love).

Bergman skewers faith and reason in one fell swoop. And he makes you laugh in the process. I LOVE BERGMAN

Bergman: "Manda represents the belief in the holiness of human beings. ... The miracle happened once, and she herself carries it. She loves Vogler in spite of being fully aware that he has lost his faith. ... Tubal is Bergman ... [But Spegel's] words mirrored my longing for pure artistry. My job was to beguile the audience. It was show business from morning till night. It was good fun, no question about it. But underneath it all prevailed a violent yearning, which I let Spegel express."

"Yes, all artists are conmen. Pay me." - Bergman, probably. Fantastic cast in a plot that ... is there such a thing as gothic madcap? Makes a point out of its own (not inconsiderable) weaknesses to serve up a gloriously defiant ending.

A very good, if uncharacteristic, Bergman film. I took it to be somewhat of a spiritual allegory, with magic standing in for faith. It's got a strong element of mystery to it, and the photography is excellent. Not quite a masterpiece, but entertaining and interesting throughout.

Exceptional cinematography. Björnstrand is as cool as Andersson is hot. (Enormously, that is.)

Some sense of melodrama with the ending, but still an enjoyable story about the real, the sur-real, enchanting magic, and "science" in denial. The potion of love is nothing but a catalyst of libido given by magicians who believe, understand and take advantage of human extra-ordinary potentials.

A weird Bergman-flick, filled with mystery but lacking the suffocating insight he usually demonstrate.

A beautifully shot enigma with some fascinating themes and ideas about faith going on. The kind of film I could see being a totally different experience with each viewing. And Max von Sydow's face is just heart wrenching.

The type of movie Woody Allen always wanted to make.

It's no surprise Bergman seems to lend some respect to the magicians in this movie; his profession isn't too far removed from theirs.

Another wonderful film from Bergman, this time critiquing cold rationalism in a story that can be seen as either a metaphor for showmanship and creativity, or as one of his more typical religious allegories. Gets off to a slow start but really knocks it out of the park with the climactic attic scene.

Another quality offering from Bergman. The contrast between faith and reason, superstition and logic is one of Bergman's return to themes. It was a topic he took very seriously but here we get it wrapped up in comedy. The script is brilliant as he plays with the characters and audience alike with surreal touches and identity deception. The cast are all great and the cinematography is wonderful.

DECEIT! This film is incredibly complex, and even gets more so the further away you get from it. As a single example, consider Max von Sydow's character. The dying drunk at the beginning tells us that he's just an actor wearing a fake beard. We take that to mean that von Sydow is the actor, but we're wrong. It's Vogler. But also von Sydow. The movie plays with you, it gets you to re-suspend your disbelief time after time, only to reveal that your first instincts were correct. Incredible.

Talky and slow moving, typical Bergman

A very strong and moody piece.

Anti Bergman bergman or more anti what people perceived Bergman was

88.50

88.000

It is at times magic but it isn't exactly magical.

A bit dull plotwise, especially considering it's a Bergman I had a hard time being fully engaged. The movie is inspired by a play by G. K. Chesterton and a lot of scenes feel like they could work in the theatre as well. Unfortunately you'd then miss out on the beautiful shots that are so characteristic of Bergman and omnipresent throughout the entire movie.

Bergman is always a treat! Beautifully performed, with a host of brilliantly odd and entertaining characters. With the "The Magician" Bergman manages to play with concepts surrounding mortality, religion and science in a humorous and intelligent way, without becoming laborious or preachy. While overall this movie doesn't compete with Bergman at his most powerful and innovative, it has to be said that his photography and lighting is probably as brilliant as it ever was here.

Kind of an odd one in Bergman's career. Some call it a religious allegory, and while there is something to that, I think it's more about the magic of film and theater. While Bergman achieved fantastic success mixing comedy and drama in Seventh Seal, it often doesn't quite work here. But if it doesn't always gel, it does have some great moments and is generally pretty entertaining, with the usual strong performances. Gunnar Fischer's photography is quite wonderful, too.

This movie is directly about you, the critical audience, and it isn't complimentary. If Max Von Sydow is in it, a movie can insult me as much as it wants.

Mês especial do centenário de Ingmar Bergman filme #1 Por alguma razão conjecturei que esta seria a versão ficcional de F for Fake, mas isso só acontece pervasivamente nos minutos finais com o mesmo quê de comicidade. O duelo entre Gunnar e Max é gigantesco.

A winking story about truth and lie, science and religious faith, drama and human being.

An entourage of travelling charlatans perform their acts under the doubtful eyes of people of stature, among them a doctor and a police superintendent who have their suspicions about the troupe. Nobody believes in the magic of the acts but reality itself turns unsettling and difficult to the many wonderful characters that are on display.

Mysticism versus rationalism Two totally different ways that the human being has discovered. Knowing by checking scientifically or being seduced by the unreal and illusory face of what is unverifiable.

Ingmar Bergman's small-scale tale of a travelling mesmerist (Max von Sydow) and his retinue, who find themselves under the watchful eye of the Stockholm authorities--especially a doubting doctor (Gunnar Bjornstrand). Fascinating as a character study, beautifully directed and photographed (by Gunnar Fischer), masterfully acted, funny and compelling--hampered only by a twist late in the game that requires perhaps too much suspension of disbelief. Still, worthy both as meditation and entertainment.

quite an odd trip, indeed. there are bits and pieces that I enjoy alot. split scenes with amazing dialogues inbetween the almost psychedelic and ahead-of-its-time innuendos. ultimately one of my least favourite bergman viewings, unfortunately. big plus for the absurdity of it all, minus for the seemingly lack of direction.

The fantastic performers really make this film, bringing an intensity, and in the case of Bjornstrand, a subversive quality to the proceedings. Bergman looks to explore the tension between faith/superstition and reason, but the writing just doesn't seem as sharp here as in other of his work from the period. That said, the slightly comic or absurdist tone at the end makes for an appropriate conclusion to what is often an overly serious discussion or even argument.

"Both a rebuke to critics and a confession to charlatanism, The Magician puts forward a one-of-a-kind examination of the problem of truth in life and in art."