The Magician (1959)

THE MAGICIAN is a very good fantasy drama with elements of comedy. A human drama about fates, masks and magic. One traveling magician, together with his companions, comes to a big city. Upon arrival in the city, he becomes the object of ridicule and accusations. The city authorities are trying to expose his tricks. Their efforts end in a farcical climax through love, sexuality, psychology and supernatural phenomena...Mr. Bergman has again managed to re-examine the important questions of life in an imaginary world. The phenomena that we do not understand are sometimes exciting. Mr. Bergman has tried to play with the human mind through human needs and instincts under the strong influence of illusions and transience of life. Emotions and excitement are colliding with tradition and intellect. The director has made a very pleasant deception. Mystery was complemented with games of shadows, mirrors and lightning. Brilliant sound occasionally breaks anxious silence.The dialogues are thoughtful and very provocative. Characterization is, as usual, excellent.Max von Sydow as Albert Emanuel Vogler is a magician, entertainer, a doctor, a charlatan and a crook at the same time. His character was captured by the irony of life and spiritual poverty. This can be read on the actor's face.Ingrid Thulin as Manda Vogler (alias Mr. Aman) is a beautiful and faithful wife of magician. Gunnar Björnstrand as Dr. Vergerus is a very provocative as a skeptical doctor. Åke Fridell as Tubal is a crook with a smile on his face. Bibi Andersson as Sara is a falsely naive girl, who fell in love with one coachman. Naima Wifstrand as Granny Vogler is a wise old witch, who sings a lovely lullaby for good night and sells rat poison at the same time. This is a good combination between the gruesome melodrama and lustful comedy that ends with a general farce.

When 'Vogler's Magnetic Health Theater' comes to town, there's bound to be a spectacle. Reading reports of a variety of supernatural disturbances at Vogler's prior performances abroad, the leading townspeople (including the police chief and medical examiner) request that their troupe provide them a sample of their act, before allowing them public audiences.The film was distantly inspired by G. K. Chesterton's play "Magic", which Bergman numbered among his favorites. Bergman staged a theater production of "Magic" in Swedish at one point. Chesterton is an author who needs more love, and if it comes from Bergman, all the better.Although this film is great for its portrayal of science versus the supernatural, what really makes it worthwhile is Bergman's use of color. No one, and I mean no one, mastered black and white like he did, making every film a joy to watch even if the story was not good. (Luckily, his stories are always good.)

Most of Ingmar Bergman's films are meant to titillate the intellect. The Magician is no exception. It is rich with symbolism. I think it ranks right up there with "Death in Venice" on the list of misunderstood movies.I believe the most rewarding level of meaning in "The Magician" is the religious one. Bergman was often concerned with the implications of religious beliefs. And almost always from the attitude of doubt. Consider the lines in The Seventh Seal where the vicious monk, annoyed with the knight's persistence, asks, "Will you never stop asking questions?" and the knight replies resolutely, "No. Never."Watching this movie with the idea of Vogler as Jesus provides a perspective that informs the characters and their conduct. This melancholy magician, doubted and persecuted by the powerful, surrounded by strange and suspicious persons, is simultaneously visionary and earthy flesh and blood. He only wants to perform his miracles for the masses. Or is he a charlatan? What a powerful way to pose that question.

I appreciate Bergman's mastery of cinema very much, especially his inimitable ways of story-telling, together with the splendid photography of Gunnar Fischer or Sven Nykvist, and - always - a magnificent cast of first-rate actors. Undoubtedly, "Wild Strawberries" or "The Seventh Seal" are classics of world cinema.And with regard to the cast and cinematography, "The Magician" is no exception to this appreciation. - However, I do feel a bit uncomfortable each time a touch of humour comes up in Bergman films. In my humble opinion, these movies mostly haven't aged so well - be it that our sense of humour has changed over the past 50 years, be it that Bergman's humour might seem a bit forced, in the first place. My overall impression of "The Magician" is that of a fairly heterogeneous movie with a tremendous beginning, then with several changes of mood (and BTW large plot holes, as well), and finally a rather unfitting ending. In my opinion (I truly hate to say so): one of Bergman's weaker efforts.