The Serpent's Egg
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The Serpent's Egg

1977
Drama, Suspense/Thriller
1h 59m
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Avg Percentile 43.51% from 302 total ratings

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(302)
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Rated 14 Aug 2007
86
96th
In The Magic Lantern, Bergman argues that his error in this film was to set it in what would become an unrecognizable Berlin of the 1920s. In Images, he concludes that the failure lies deeper, in the incompatibility of the voyeur motif with the story of the two artists. But to me, this shows in a terrifying way the degradation of an epoch and the immense foreboding it can generate, and if it somehow departs from our image of 1920s Berlin, it only serves to intensify its relevance.
Rated 14 Aug 2007
73
45th
Widely considered a failure (by Bergman himself, even) and yet I thought it wasn't that bad. It's very un-Bergman, to be sure. It feels more like a Hitchcock film injected with Bergman's pessimism and darkness. And yes, it's a bit over the top, particularly the ending. And David Carradine isn't very good and one wishes for more scenes with Liv Ullmann. Nonetheless, I thought it was pretty decent.
Rated 25 Oct 2019
60
39th
Bergman goes sci-fi... sort of. Better than its reputation, even if it's one of the least Bergman-like Bergman movies both in terms of budget and depth. So Carradine is miscast, the movie spends too long to get to a plot twist that's too sudden, but the image of pre-apocalyptic Berlin ("When people lose hope, anything can happen") is chillingly effective and the ending feels a little too close to home these days.
Rated 14 Dec 2020
91
78th
The post-WW1 Germany suffering in every macrocosmic perspective and squeezing every microcosm within and between people to the edge of collapse, producing incapability, indulgence, resentment, and suicidal, murderous acting-out of all kinds. A psycho-political horror characterised by people's (especially governing people's) unawareness of the gravity of coming waves - not unlike the world today - and shown with a unique flavour of Bergmanian subtlety.
Rated 02 Jan 2007
84
75th
Ano de centenário de Ingmar Bergman filme #31. Continuando com meus filmes sobre fascismo da semana... Gostei mais dessa revisão do que eu fizera da primeira vez, além de ter notado que o simbolismo nele presente é muito menos óbvio do que achara. Box Versátil Coleção Ingmar Bergman Volume 7
Rated 08 Dec 2013
60
19th
I liked that it was weird, but unfortunately it seemed like there was supposed to be real social commentary here, but it didn't make sense in the end. Also, it's one of those movies where the apparent paranoia of the main character is validated when an elaborate conspiracy, or plot by an evil genius, is exposed. Then everyone implicated dies so nobody can be prosecuted and nothing can be proved. YAWN.
Rated 30 Jul 2019
55
42nd
A decent movie that doesn't really go anywhere or mean anything. The acting was stilted but decent, the story was non existent and the pacing was terrible. There were a few good ideas and scenes but ultimately I found this to be a tedious watch.
Rated 02 Oct 2013
60
22nd
60.000
Rated 26 Jul 2012
84
78th
Great filmmaker remade the cheesy Cabaret to make it really good
Rated 11 Jun 2009
60
47th
Surprisingly not good. It comes across as an art-movie ripoff of _Peeping Tom_ and _The Damned_, complete with Bergman doing a poor imitation of Visconti's visual style in the latter film
Rated 14 Apr 2013
70
60th
Really doesn't deserve its bad reputation. Sure, David Carradine is horridly miscast, a lot of scenes are overacted or bizzare, and the ending monologue is far too prescient and on-the-nose, but at least the first two contribute to a dreamlike/nightmarish quality that Carradine's character mentions at one point. Also, some of the shots are gorgeous, and there are too few movies that take place in Europe between the World Wars for their full runtime.
Rated 10 Jun 2008
90
96th
A remarkable, underrated film, not least for the sudden shift in how we understand the behaviour of key characters at a certain moment, re-framing everything and dislodging the previous forms of investment in the interactions of the central characters.
Rated 18 Oct 2023
55
41st
It’s as if David Carradine accidentally stumbled into a Bergman film that lacks almost all the qualities of a Bergman film. It was perplexing for me to watch; there were moments here and there that hinted at the potential for an interesting movie - the Abel and Monroe scene with the two whores and all the cabaret scenes - but the rest is odd and shows that Bergman as a director was completely ill-equipped to comment on the rise of Nazism in Germany and the persecution of the Jews.
Rated 02 May 2020
50
9th
Bergman's big production made in Germany is one of his major missteps. David Carradine is totally miscast, plus on top of that gives a poor performance in which he either just look stoic or overacts. To be fair the ending almost redeems this, if everything before wouldn't have been so extremely aimless and empty.

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