Jungfrukällan (The Virgin Spring) poster & wallpaper
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Max von Sydow, Birgitta Valberg, Brigitta Pettersson, Birgitta Pettersson, Gunnel Lindblom ... see more see more... , Axel Duberg , Tor Isedal , Allan Edwall , Ove Porath , Axel Slangus , Gudrun Brost , Oscar Ljung , Leif Forstenberg

Inspired by a medieval Swedish ballad, Ingmar Bergman's The Virgin Spring (Jungfrukallan) begins with a scene of unspeakable brutality and ends with an image of uncommon beauty. 15-year-old Birgitta P... read more read more...eterson, on her way to church to light candles for the Virgin Mary, is raped and murdered by two older men. The men look for shelter at the home of Birgitta's father (Max Von Sydow), who murders the bestial killers in cold blood. When the deed is done, Von Sydow, a deeply religious man, begins to question the efficacy of a God that would allow his daughter's death, then permit so bloody a retribution. Then, a fresh, virgin spring bubbles from the ground where his daughter had been lying a few moments before. Taking this natural phenonenon as a sign from above, Von Sydow vows to erect a church on the spot where Birgitta met her doom. The winner of the "best foreign picture" Academy Award, The Virgin Spring currently exists in several versions of varying lengths; the longest, and most graphic, is the original Swedish cut. Believe it or not, this hauntingly beautiful film served as the basis of The Last House on the Left (1972). ~ Hal Erickson, Rovi

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91% liked it

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16 critics

Unrated, 1 hr. 28 min.

Directed by: Ingmar Bergman

Release Date: January 1, 1960

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DVD Release Date: January 24, 2006

Stats: 664 reviews

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Flixster Reviews (664)

  • bottcorecords1
    March 29, 2012
    bottcorecords1
    Ingmar Bergman's films are declarations. Declarations of doubt, declarations of fear. Somehow in his confrontation of death, he tries to find the meaning of life. In The Virgin Spring, Bergman revisits medieval times (as in 1957's "The Seventh Seal"). This time, the scene is ... read morea fourteenth century farm. Töre is the landowner and patriarch of his little family which includes wife Märeta and daughter Karin. The family, being devoutly christian, have an "adopted" family of farmhands and runaways, as well as one "fallen", heathen woman who is carrying an illegitimate child. It's with her the story begins as she prays for Odin to come and curse the daughter Karin. Karin is the perfect one, always getting her way, not having to do anything and getting spoiled by the masters of the house. So when she and Karin are sent to the church to deliver the candles for the virgin mother's mass, she gets her wish most brutally answered.

    Watching Töre's penance towards the end of the film, you have to wonder about the level of ritualism and meditation that precedes an act motivated almost entirely by blind retribution. As observers, we can only feel sorrow at this destruction, regardless of what end it seeks to achieve. What can we take away from the Virgin Spring? That God, if he exists, works in mysterious ways? That life is cheap? That one's notion of existence can be swept away in one callous motion? It's not enough to just exist, you have to know why you are doing it. Once upon a time, we built churches to give our lives purpose, and to try and provide some higher understanding of why we were here. With The Virgin Spring, we have a film etched hard into the celluloid, an artistic rendition of the question that plagues our human nature.
  • cosmo313
    October 24, 2011
    cosmo313
    Remade twice (both times under the title The Last House on the Left), this is a drama set in medieval Sweden about a deeply religious man who seeks revenge after his daughter is raped and murdered. Unlike the remakes, this is more of a drama than a horror film, although the event... read mores that take place are horrific. The way they are handled is makes it distinct.

    The big push here is this film's focus on themes of religion, forgiveness, faith, heavy questions about the nature of crime and punishment. In a way, and I'm not trying to diminish the film here, you could possibly call this (if you had to) an arthouse exploitation film. Because really, it is art, it just happens to be punctuated byt two very strong (but surprisingly tasteful (as it were)) scenes of violence.

    I loved this movie because it has Bergman's traemark playing around with light and shadows, and gorgeous cinematography, and the participation of his long time collaborator Max von Sydow (who is excellent). It has wonderful atmosphere, and everything is made more effective and unsettling due to the lack of a soundtrack (most notable during the violence) and the fact that the film doesn't ever go out of its way to see creepy or frightening. Everything is very peaceful, quiet, and serene, and that is far more intense than being overtly gritty.

    The version I watched had an introduction by Ang Lee, and he really does a great job of explaining the film as being so powerful and moving because of the things I've mentioned above, and because the film is an overall classy affair despite the subject matter. Now, I'm giving this the same rating I gave to the first The Last House on the Left, but that doesn't mean the films are equal. In fact, you really can't put them in the same league, despite their similarities. They are both great in their own way. One just happens to be an artsy film with strong symbolism and heavy themes awhile the other is a gritty, disturbing, and unrelenting exploitation thriller (yet still has some subtext). As a film overall though, I think this one is better, as I see the other working better as more of an experience than as a movie.

    You should definitely give this one a watch, It's some great stuff.
  • blkbomb
    May 1, 2011
    blkbomb
    One of the most symbolic and emotional movies you will ever see, and more than likely one of the best. Max Von Sydow's performance as the religious and vengeful father is one of the best when it comes to conflicts of feelings over beliefs.
  • ythelastman89
    April 20, 2011
    ythelastman89
    When it comes to tales of revenge, there are few finer than this. With an incredibly well paced build up, this is one of the most visually disturbing pieces from Ingmar Bergman. Any fans of The Last House on the Left should check this out, due to it essentially being a medieval r... read moreendition of the story. It contains what might be the greatest feats of strength one man has displayed on camera. Max Von Sydow kills three men practically with his bare hands via burning, stabbing and raising someone above his head and throwing them. Him playing such a peaceful and religious father one minute and a warpath the next is a little shocking and a ridiculously well done tactic in terms of character development.
    As always with Bergman, this is a truly beautiful looking movie. Every shot is so well composed and captures the landscape and characters so well. It sort've becomes the third part of the unofficial trilogy, also consisting of The Seventh Seal and The Magician. All are period pieces revolving around a group of characters having to face death in some form. In my opinion, these are Bergman's three greatest movies. They deliver on every level and seem to have endless life.
  • pier007
    November 9, 2010
    pier007
    God's indifference towards his children's suffering.
  • tsigur
    December 29, 2009
    tsigur
    It has been a long time coming, but I am glad that I am going through my Bergman phase at this age. This is another one of his gems that had me from the first frame and kept me going until the last. I loved the story (even though it has been hacked by some horrible remakes here l... read moreately) and thought it was well acted by the entire cast. Of course, when you have Sven behind the camera, you are going to have a gorgeous film and this film just keeps that legacy in tact. Max Von Sydow is the premiere badass and it's amazing how shocking the rape scene is even today. Great film.
  • matertenebraum
    December 13, 2009
    matertenebraum
    Legendary Swedish director, Ingmar Bergman's probable precursor to Wes Craven's notorious 1972 shocker 'The Last House on the Left' is a far more compelling and emotionally draining film that adroitly and continuously switches the viewers sentiments up until the despondent, tranq... read moreuil and haunting ending. While one minute the viewer is laughing along with the youthful, if naïve, exuberance of the young Karin (Birgitta Petterssen), the following minute will encourage different emotions as Bergman plunges the viewer into the middle of a nightmarish crime perpetrated by nothing less than the evil inside man. Although the portrayals of the acts committed in 'The Virgin Spring' are far less graphic than the modern viewer may have become accustomed to, they still retain an immense power to horrify as one cannot ignore the great lengths Bergman has gone to in order to give his characters a base in order to harden the impact of what we see. With just the simplest of dialogue, the viewer continues to learn about the relationships and personalities of each of the characters so that we may appreciate the consequences and, in some ways, forgive the actions that we see. This film is, after all, a tale of morality and repentance and therefore, even while in some cases the actions may be evil, it is necessary to accept the goodness that is still there. This thought is made no clearer than during the solemn and subdued final scene which fades out abruptly and leaves the viewer in a state of quiet reflection.

    Bergman's pacing and subtle direction which at one point leaves the viewer in suspense for what seems like an eternity is surely the reason for the greatness of this film. As if he were playing chess, he manipulates not only the characters, but the emotions of the viewers with intelligent and surprising maneuvers while pressing home his own sentiments regarding the story so that we may at least take into great consideration the events that we have seen. Bergman has an amazing ability to flip the atmosphere of a movie in a split second using various lighting and camera angle techniques as well as motivating his performers to follow suit. The simple expression changes on the faces of Birgitta Petterssen, Max von Sydow, Birgitta Valberg and Gunnel Lindblom at various points throughout the film quickly alter the mindset of the viewer and indicate that all is not well; so beautiful in undeniable simplicity.

    'The Virgin Spring' is nothing short of a masterpiece and a film that few shall be able to forget.
  • flixsterman
    September 8, 2009
    flixsterman
    Ingmar Bergman is a taste I have yet to acquire but this is far less abstract than his other films I've seen. Cinemaphiles familiar with The Last House On the Left will recognize the plot but this one is enormously (and quite thankfully) more artistic and elegant.
  • rubystevens
    February 28, 2009
    rubystevens
    very dark and profound medieval fairytale. one of the most beautiful films i've ever seen
  • kiriyamakazou
    August 7, 2008
    kiriyamakazou
    Or what some may refer to as Ingmar Bergman's I Spit on Your Grave. It's such an eye opening experience to watch such a simplistic narrative as a revenge film, be handled with such artistic care by such a master. Bergman layers his film with such complexity that there is no relie... read moref in the revenge, only further hatred. Evil is shown as coming from everywhere, and the destruction of innocence also shines bright. It's quite a brutal film, especially for the time with both a traumatic rape scene and brutal murders taking place. The religious aspects also don't burden the film with a preachy method but does try and justify God's actions as well as how insignificant humans are to the planet. A wonderful film.

View All Jungfrukällan (The Virgin Spring) Reviews

Critic Reviews

Bosley Crowther
May 9, 2005
Bosley Crowther, New York Times

It is far from an easy picture to watch or entirely commend. For Mr. Bergman has stocked it with scenes of brutality that, for sheer unrestrained realism, may leave one sickened and stunned. Full Review

Don Druker
January 1, 2000
Don Druker, Chicago Reader

The period details are magnificently worked into the narrative, and the pace and economy of the tortured Swede's storytelling make his metaphysics infinitely easier to take. Full Review

Matthew Sorrento
June 7, 2008
Matthew Sorrento, Film Threat

Easily lost amid a brilliant career, The Virgin Spring once again shows Bergman's control in capturing the furthest ranges of emotion. Full Review

Urban Cinefile Critics
February 14, 2008
Urban Cinefile Critics, Urban Cinefile

Bergman's instinctive approach to filmmaking %u2013 like his gripping use of long wordless moments filled with pictures of great power, is in evidence, with some unforgettable scenes that even today, ... Full Review

Dennis Schwartz
December 22, 2006
Dennis Schwartz, Ozus' World Movie Reviews

Masterfully directed by Sweden's Ingmar Bergman. Full Review

Emanuel Levy
October 21, 2006
Emanuel Levy, EmanuelLevy.Com

Winner of the Foreign-Language Oscar Picture, the film represents the first peak of Ingmar Bergman's creativity, released right after The Seventh Seal and before Through a Glass Darkly, all three mast... Full Review

August 29, 2006
TV Guide's Movie Guide

[Auds] will be rewarded by the depth of the director's moral and religious questioning, the emotional power of the story and acting, the haunting and symbolic imagery, and the excellent black-and-whit... Full Review

Mark Bourne
April 5, 2006
Mark Bourne, DVDJournal.com

Although the 'jiggery-pokery' does mute the 'actual, horrible story,' Bergman still poses worthy questions, offering no answers, a key difference between art and baloney, or spirituality and dogmatism. Full Review

James Kendrick
March 18, 2006
James Kendrick, Q Network Film Desk

It is also a crucial film because it was the first to be shot entirely by Sven Nykvist, who would become Bergman's longtime cinematographer and would be largely responsible for shaping the visual aest... Full Review

Jeffrey M. Anderson
February 16, 2006
Jeffrey M. Anderson, Combustible Celluloid

The master guides us through this heartbreaking tale with a delicate hand and a gorgeous, poetic touch. It's actually one of his simplest and most moving works -- a film to be savored and pondered. Full Review

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