The Virgin Spring (1960)

Directed by: Ingmar Bergman

Starring: Max Von Sydow, Birgitta Valberg, Gunnel Lindblom, Birgetta Pettersson

Genre: Drama, Suspense, Crime

Language: Swedish (Subtitled)

Rating: Not rated

I had been very curious about this film for a long time before I finally got to watch it. Knowing that it was the inspiration for Wes Craven’s Last House on the Left, my interest was piqued. So, the other night, after I discovered it on Netflix Instant Watch, I settled in with this well-noted classic. (*Note: I know I would normally lump this in a post with Last House and its remake, but this was never directly remade. Last House is not an official remake of The Virgin Spring.)

The story is set in Medieval Sweden following a small farming family. Karin (Pettersson) and her servant Ingeri (Lindblom) are sent off to deliver candles to the church to celebrate the Virgin Mary. On the way there, the girls have a falling out, and Ingeri stays behind while Karin goes off on her own.  A ways up the road, she comes across a small group of shepherds, and kindly invites them to share her lunch with her. During the meal, the two men attack Karin, raping her and eventually killing her. Later in the day, the men unknowingly take shelter at the home of Karin’s parents – a mistake they will soon regret.

The plot is very similar to that of the film it inspired – though this one focuses more on the characters and less on the horror aspects of the incident. This film focuses heavily on guilt – many characters feel it for different reasons throughout the film. For example, the small boy with the two older shepherds witnesses the crime and wants to tell someone – he can’t eat or sleep and becomes physically ill at the thought of what was done to this lovely girl. He even tries to cover her corpse. Several other characters are also physically and even violently affected by their guilt over the incident and what occurs afterward. The emotion is tangible in many scenes.

The film also deals heavily with religion – specifically Catholicism. Guilt is a factor often associated with Catholics (ex: the saying “Catholic Guilt.”) There is also an emphasis on virginity. There’s the celebration of the Virgin Mary. The family berates Ingeri for being pregnant out of wedlock, calling her a “disgrace” and telling her they never should have taken her in. Karin is celebrated for her purity – she is the favorite among her family. Her virginity and honor are stolen from her.

I also saw a theme of the Seven Deadly Sins within the film – most notably vanity, envy and wrath – and each person possessing this sin is punished. Karin is wearing her best clothes on her journey – wanting to look her best, and she falls victim to men who rob her of her riches, her maidenhood and her life. Ingeri’s envy of Karin is what leads to their fight and Karin going off by herself. Lastly, Karin’s father’s actions toward the end of the film are the epitome of “wrath.” 

The cinematography is beautiful, which gives the film a twisted element. The viewer is sitting there wondering how these horrible things can be done to this young woman in such a beautiful place. It reminds people that something like this could happen to anyone at any time, anywhere. The rape, while not incredibly graphic, is fairly hard to watch – it’s also more brutal than many films of that era. The sets seemed authentic and the costumes believable.

Lastly, the acting was decent. The characters of Karin, her father, and the small boy were played perfectly – you could really feel their emotions. The other actors offered decent performances, but they fell to the background in comparison.

Overall: Though it is not my typical taste in film, it is very good and lives up to its reputation as a classic. Well-shot and acted, with a lot of religious themes laced within, this is worth at least one watch for all film buffs out there.

7.5/10