Years ago when I first saw THE LAST HOUSE ON THE LEFT I’d
read that it was loosely based on the 1960 Ingmar Bergman film THE VIRGIN
SPRING. For one reason or another I’d never been able to see that movie though
so just how loosely I never knew. That was one of the sad things about there
being no video at one time and later that video stores didn’t carry many films
considered “art films” in small towns. So when I saw Criterion was releasing
the film I was anxious to finely have the opportunity to see it.
The movie features Max Von Sydow as Christian Per Töre, a
landowner in medieval Sweden who has converted to Christianity with his wife
Märeta (Birgitta Valberg). They have a young daughter named Karin who we see
early on is indulged being the apple of her father’s eye. Living in the same
house is Ingeri (Gunnel Lindblom), a peasant serf of the family who resents
them and has a reputation that has left her pregnant.
With a holy day coming Karin is assigned the task of taking
candles to the nearby church. Anxious to go she dresses in her finest clothes
and asks that Ingeri accompany her. With hate in her eyes Ingeri goes along
until they reach a stream before entering the nearby forest. Afraid for some
reason she remains behind with the man who owns mill at the stream. When he
attempts to assault her she runs after the long gone Karin.
As she makes her way through the forest Karin comes across
three herdsmen, brothers, and offers to share her lunch with them. They lead
her to a field and as lunch progresses she senses danger from the three. Before
she can escape them they’re on her and rape her. When she tries to run
afterward, one clubs her to death. As this all happens Ingeri watches from the
wood, never helping. The men steal the fine clothes Karin was wearing and leave
her behind in the woods.
Back at the homestead Christian and his wife worry about
their young daughter when she doesn’t return, but not overly so. She’s stayed
in town before. As it grows dark the three herdsmen show at the house
completely unaware that this is the home of Karin. They’re invited in and
provided a meal and shelter with the potential of work. During the night
however Märeta finds her daughter’s clothing among their things. Ingeri returns
and tells them what happened. Events are set in motion from that point that
will forever change them all.
Most people will have already known the story of this film
with it being over 50 years old now but I decided not to reveal the final portion
of the film. That’s difficult to do because some of the most striking images
are contained there. If you watch the film on the Criterion edition you’ll see
what I mean and also hear in the extras some of the things I can’t quite refer
to here.
The story is stark and brutal but there’s no other way to
depict what occurs. That this much was shown (though no real skin makes it to
the screen) in 1960 is stunning in itself. But the brutal act of rape is on
display and the murder after while quick is also heightened by the way the body
is ransacked and left totally exposed to the world. It’s upsetting and yet at
the same time not nearly as much so as later films depicting the same act have
been. LAST HOUSE that I referenced earlier or even the rape in DEATH WISH are
much more upsetting. But the naïve attitude of Karin and her soft beauty make
it an unbearable act in this film. What comes later at the hands of a grieving
father is equally disturbing and yet done in such a manner as to truly be
considered artistic.
The movie in its entirety itself is gorgeous.
Cinematographer Sven Nykvist did an amazing job with the stark black and white
photography shown here. This was the first film he did with Bergman and they
collaborated on many more after. The clarity of the Criterion version here is
amazing. As an example a scene early on of Ingeri that’s backlit shows the fine
strands of stray hair completely visible in the picture. And being shot in
black and white actually helps the movie rather than hinder it.
To be honest this is the first film by Bergman I’ve had the
opportunity to watch. The only reason I can explain for that as someone who
loves all things film is that I’ve never had access to any of his films, even
taking classes in film. I’d always heard his films were somber affairs and
judging from this one I couldn’t argue that. I’d need to see more to believe or
deny that. When he began making films of a more serious nature Woody Allen said
that Bergman was a big influence on him. I can see that in some sense but
again, without seeing more wouldn’t begin to say that’s correct or not.
Criterion has offered the film here with the respect that it
deserves beginning with a 2k digital restoration of the film that as I said
earlier is amazing. In addition to that they’ve included several extras worthy
of mention. Those include an audio commentary by Bergman scholar Birgitta
Steene, an introduction by Ang Lee from 2005 describing the influence the film
had on him, an audio recording of a 1975 American Film Institute seminar by
Bergman, an alternate English dubbed soundtrack for those who don’t favor
subtitles and a booklet featuring essays by film scholar Peter Cowie and
screenwriter Ulla Isaksson and the medieval ballad on which the film is based.
Criterion has done a bang up job on this release and it’s
nice knowing that such a copy exists for those who wish to explore the movie
and the films of Bergman. This will be edition that fans will want to add to
their collection. Film students would bode well to pick this up too. And movie
lovers might want to give this a watch to discover Bergman.
Click here to order.
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