THE VIRGIN SPRING
(1960)
Dir - Ingmar Bergman
Overall: GOOD
As ground zero for the rape and revenge film, Ingmar Bergman's The Virgin Spring, (Jungfrukällan), does not qualify as a horror movie, but only as an unbeknownst origin for such plot components that later filmmakers would utilize to exploitative means. This does nothing to lessen the impact of the film though; one of the most stark and intelligible of the director's career. Based off the 13th century ballad "Töres döttrar i Wänge" about a respected Christian whose wife and three daughters are raped and murdered by three highwaymen, (here changed to three herdsmen and but one daughter, his only), it explores guilt and the juxtaposition of Norse, pagan rituals and Christian faith. The literal spring of the movie's title signifies the victim's innocence, only emerging after the deeds are done and the remorse of those surviving has questioned the existence of any sort of god or magic at all. This marked the second collaboration between Bergman and screenwriter Ulla Isaksson and the first with cinematographer Sven Nykvist who he would continue to work with. Its blunt, overall direct presentation makes it as emotionally compelling as anything Sweden's greatest filmmaker ever made.
(1960)
Dir - Ingmar Bergman
Overall: GOOD
As ground zero for the rape and revenge film, Ingmar Bergman's The Virgin Spring, (Jungfrukällan), does not qualify as a horror movie, but only as an unbeknownst origin for such plot components that later filmmakers would utilize to exploitative means. This does nothing to lessen the impact of the film though; one of the most stark and intelligible of the director's career. Based off the 13th century ballad "Töres döttrar i Wänge" about a respected Christian whose wife and three daughters are raped and murdered by three highwaymen, (here changed to three herdsmen and but one daughter, his only), it explores guilt and the juxtaposition of Norse, pagan rituals and Christian faith. The literal spring of the movie's title signifies the victim's innocence, only emerging after the deeds are done and the remorse of those surviving has questioned the existence of any sort of god or magic at all. This marked the second collaboration between Bergman and screenwriter Ulla Isaksson and the first with cinematographer Sven Nykvist who he would continue to work with. Its blunt, overall direct presentation makes it as emotionally compelling as anything Sweden's greatest filmmaker ever made.
(1962)
Dir - Sidney W. Pink
Overall: MEH
A Danish/American joint production by Sidney W. Pink and co-screenwriter Ib Melchior, Journey to the Seventh Planet channels the famed MGM production Forbidden Planet, with its subconscious-mining extraterrestrial entity and vibrant color scheme. Unfortunately, it is all done on a tacky budget that is more unintentionally hilarious than thought-provoking, but this clashing of sincere ambition and insufficient means, (and talent), is what makes it at least unique amongst dopey drive-in cheapies. Shot in Denmark with an entirely local cast besides B-movie American star John Agar, the English dubbing is appropriately stiff for its already cornball dialog and unfortunately there is a lot of that dialog, which makes the pacing issue numero uno on the list of blunders. Elsewhere, the story actually possesses some trippy ideas about a Uranus alien that high-jacks the character's minds with manipulative visions, irresistibly beautiful ladies, nostalgic scenery, and big dumb rubber monsters, all in a scheme of Earthly domination because of course. The D-grade sets, costumes, special effects, and swiped footage just provide the dated and goofy window dressing.
(1968)
Dir - Robert Vadim/Louis Malle/Federico Fellini
Overall: GOOD
This Italian/French co-production from Alberto Grimaldi and Raymond Eger thankfully nabbed three prominent enough directors who rarely if at all worked in the horror genre, Robert Vadim, Louis Malle, and Federico Fellini. The resulting Spirits of the Dead, (Tre passi nel delirio, Histoires extraordinaires), is based on yet another combination of stories from Edgar Allan Poe, easily the most cinematically adapted horror author of the 1960s if not ever. Each segment is a loose interpretation at best, (which is nothing new), and each centers around a character recklessly indulging in debauchery. Though all three directors have established themselves as having a unique voice behind the lens, for an anthology film, it impressively has a consistent, ethereal tone which links them all rather ideally. Naturally being an anthology film in the first place, there are highlights and admitted downspots. Each section could afford to shave off five to ten minutes, give or take. Even the best of them, (which would be Fellini's "Toby Dammit", acting as more nightmarish version of 8 1/2 and La Dolce Vita in vivid color), overstays its welcome just a bit. Visually though, the entire movie is superb and an expertly dreary, arthouse horror template to continue to take note of.
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