Buy Ansiktet aka The Magician Movie. Watch online or Download
Genres: Dr
Starring: Max von Sydow, Erland Josephson, Ingrid Thulin, Bibi Andersson, Gunnar Björnstrand, Naima Wifstrand, Bengt Ekerot
Director(s): Ingmar Bergman
Available Quality: Hi Def
Country: Sweden
Year: 1958
Available Quality: iPod, Hi Def, Hi Def
IMDB Rating: 7.7 out of 10 (2960 votes)
When Voglers Magnetic Health Theater comes to town, theres bound to be a spectacle. Reading reports of a variety of supernatural disturbances at Voglers 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 scientific-minded disbelievers try to expose them as charlatans, but Vogler and his crew prove too clever for them.
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Visitors Review
flipshoes (25 May 2012)
One of Bergman's weaker efforts
I appreciate Bergman's mastery of cinema very much, especially hisinimitable ways of story-telling, together with the splendidphotography of Gunnar Fischer or Sven Nykvist, and - always - amagnificent 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 noexception to this appreciation. - However, I do feel a bituncomfortable each time a touch of humour comes up in Bergman films. Inmy humble opinion, these movies mostly haven't aged so well - be itthat our sense of humour has changed over the past 50 years, be it thatBergman's humour might seem a bit forced, in the first place. Myoverall impression of "The Magician" is that of a fairly heterogeneousmovie with a tremendous beginning, then with several changes of mood(and BTW large plot holes, as well), and finally a rather unfittingending. In my opinion (I truly hate to say so): one of Bergman's weakerefforts.
David Le Sage (24 May 2012)
Unfairly Overlooked Bergman Piece About Masks and Illusions
This 1958 Bergman film is often overlooked, sandwiched as it is betweenSeventh Seal and Wild Strawberries on one side and the Faith Trilogy onthe other. Nevertheless, it still offers many profound moments andremains a complex tale about masks and illusions.The film can be read as Bergman, the master illusionist, destroying thecritics who set out to humiliate him. The fact that the magician has noapparent voice of his own but lets his act speak for him is areflection of the director's role, quietly manipulating the audiencefrom behind the scenes through his art.The traveling group of entertainers representing the restless, roaminglife of the artist is a common motif through much of Bergman'smiddle-period work including Sawdust and Tinsel and the Seventh Seal.These characters are depicted as never at home in society, norappreciated by it. Invariably they represent low-culture forms ofentertainment from circuses and medieval troupes to, in this case, amagic and animal magnetism/hypnotism show. Perhaps there was still afeeling at this time that cinema could not be one of the high arts?This is ironic as Bergman was, of course, doing so much to legitimisecinema as a serious art form with each film he produced at this time.Masks and layers of truth are symbolic throughout the film. Themagician lives his role and is only exposed at the end, after he hasbroken through his critics' own masks and truly scared them for onefleeting moment.Likewise, hands are symbolic throughout this piece. As an apparentmute, the magician expresses his thoughts through his hand gestures andit is a disembodied hand at the end that he uses as part of his tricks.The ending, however is truly subversive. Whilst the audience areencouraged to identify with the magician has he outwits the cynical andmocking critics, once his masks are stripped away, he is shown to be,indeed, just another vagabond entertainer who grovels for some money,whilst the critic, humiliated moments before, re-assumes his own mask.Rejected by the woman who loved the illusion and not the man behind ithe seems on the verge of another defeat. Once the audience is temptedto conclude that perhaps the critics were right after all, Bergmanfollows with a feint of his own: the magician has found royal favourand is off to perform at court. Whilst the petty officials haverejected him, he is about to be received by the highest office in theland.In terms of social strata, he has moved from a station well-below theofficials to a privileged audience with the king that they themselveshave probably never had. The artist has triumphed over his critics.
ian_harris (19 May 2012)
Surprisingly Superb
I didn't expect to like this movie, given its period, headline subjectmatter etc. But don't let those factors put you off, there is real depthand some top notch scenes in this surprisingly superb movie. Max von Sydow, Gunner Bjornstrand and Ingrid Thulin are three of Bergman'smost consistent quality performers and all three have major roles in thisfilm. There are a fair number of stereotypical character parts, mostlyperformed by ensemble quality character actors. Bibi Andersson is capableof far more than her giggly girl part enables her to show in this film. Indeed, there is some comedic material in this film reminiscent of Smiles ofa Summer Night, but don't mistake this movie for one of Bergman's lessmasterful light pieces, this has real depth and substance.There are some amazing bits of cinematography, especially the early scenes. The pacing of the movie is masterful, as is the clever use of parallels inthe story - the failed actor "dying" and then reviving is a prelude to thepivotal incident around Vogler's "demise".Top notch scenes include Mrs Egerman opening up to Vogler - she seems solost - also both scenes in which Bjornstrand's character (Vergerus) insiststhat he was not taken in by the "magic".This is now in my Bergman top 5, which makes it a "must see" in mybook.
buarque02 (18 May 2012)
Great film, but disappointing ending.
It is true that this is a great film, as many other users have stated,it has an original script and it is very stunning. It has a very goodmoral, that of the one that pulls others' legs and finally he is theobject of scorn. It shows us as well how anyone can be stubborn with nolimits and how people can be hypocritical. However, the end doesn'thelp to consider it a master's work. It is a very happy ending that itis not just possible to believe (suddenly, comedians are engaged by theking, after having suffered from the scorn of the bourgeois). Let melaugh! Mr Bergman should have made more attention to that cheesy happyending!
Tim Kidner (15 May 2012)
"Light" Bergman?
Some reviewers have set themselves out to compare The Magician squarelyagainst Ingmar's previous two masterpieces, The Seventh Seal and WildStrawberries and mark The Magician down, unfairly. It almost cannot bepossible to attain the dizzy heights of adulation of those two and assuch, we are treated something lighter and possibly, more enjoyable.Mr Bergman, in his long illustrious career covered many types ofsubjects. Starting with straightforward and rather dull dramas, throughkitchen-sink (Ikea style?!!) and onto the darker shades of humanpsychology. And beyond, sometimes.The Seventh Seal succeeded due to its extraordinary storytelling andimagery - along with just about everything else. Wild Strawberries dueto its poignancy and leading performances that resonated with a senseof recognition and support in its audience. Other titles offer dark,deep blackly brooding death obsessed monologues that brush againstexquisite period dramas of superb detail and cinematography.The Magician, though has always been one of my favourites. Neithercomedy nor horror film but light, often humorous drama that touchesupon the Wonder in us all. We all want to see behind a master ofillusion and the mixture of nostalgia, set in the comparativelyfairytale setting of Scandinavia. I almost find it more akin to ConanDoyle than the witch- hunting or almost unfathomable symbolisms foundin many other Bergman's. As Bergman is one of my favourite directors of all time, warts and alland have 47 of his films I'd say this has much to offer, both to fanssuch as myself as well being good family entertainment that strengthenshis cinematic arsenal, not weakens it.
yabullar (15 May 2012)
Religious symbolism in Ansiktet (The Magician)
Most of Ingmar Bergman's films are meant to titillate the intellect.The Magician is no exception. It is rich with symbolism. I think itranks right up there with "Death in Venice" on the list ofmisunderstood movies.I believe the most rewarding level of meaning in "The Magician" is thereligious one. Bergman was often concerned with the implications ofreligious beliefs. And almost always from the attitude of doubt.Consider the lines in The Seventh Seal where the vicious monk, annoyedwith the knight's persistence, asks, "Will you never stop askingquestions?" and the knight replies resolutely, "No. Never."Watching this movie with the idea of Vogler as Jesus provides aperspective that informs the characters and their conduct. Thismelancholy magician, doubted and persecuted by the powerful, surroundedby strange and suspicious persons, is simultaneously visionary andearthy flesh and blood. He only wants to perform his miracles for themasses. Or is he a charlatan? What a powerful way to pose thatquestion.
John (12 May 2012)
definitely not bergman's best and a hypocritical message, but still great
ingmar bergman is, to me at least, one of the greatest directors of alltime, but the ending of this one crushed me. obviously he's trying tomakea comment on reality/illusion, as in all his films, but why take a shot atthe aesthetic irrationality and maybe uncritical nature of the artist whenbergman was himself an artist of first rank? that may sound likecategorical complacency on my part, but i couldn't believe that bergmanfinished the movie by unmasking sydow's character as a money grubbingcharlatan and the scientist as 'the wise one', who saw through it (for themost part) the entire time. of course all this is only my interpretation,but i pretty much sense bergman meant something like what i'm saying, anditis both puzzling and frustrating. most great artists may be lacking in theanalytical faculty as sydow's 'magician' clearly is (while he ispretending)in this one, but without that passion for the imaginative and theirrationalthere really can't be art at all. the dissecting scientist is, no matterhow much more intellectual integrity or 'noble' skepticism he may havethanthe artist, the antithesis of inspiring and affirmative (and there is asense in which even pessimistic and despairing art can be affirmative, asnietzsche said many times)which all art should aspire, in one form oranother, to be. the whole thing seems like a pretentious house of cards,considering that the considerable and undeniable appeal of bergman's worklies for the most part in his flair for the unspoken, the unconscious, the*irrational*. don't get me wrong, you might even call me an orthodox'bergmanian' in that i find most of his work beyond criticism andabsolutelymasterful, but i just can't get behind 'the magician', although i may beintellectualizing too much. and to the movie's credit,it maintains astrongatmosphere and becomes impossible to stop watching halfway through, likenearly every film bergman made. don't watch it, buy it, but be a *little*wary of the veeeery contradictory message the movie tries to convey.
runamokprods (12 May 2012)
Imperfect Bergman is still better than almost anyone else's best
An outstanding looking, very odd mix of somewhat broad comedy, horrorfilm, and (of course) Bergman's metaphysical musings. A band of traveling magicians, wanted by the law as charlatans, arepulled in for questioning and forced to perform for some upper classnon-believers. The 'nothing-in-life is-what-it- seems' theme is strong,but does get repetitive, and at times you can see it coming. Also, on first viewing the elements didn't really feel like they fittogether, and I found it a bit of a bumpy ride. The comedy made thedark side hard to take seriously, and the serious, creepy elements madethe comedy feel all the more wedged in.That said they are a some amazing sequences that I know will stick withme, and I do feel haunted by the film. Many call it a masterpiece orclose, and I'll certainly see it again.
Hitchcoc (11 May 2012)
We're on Stage with the Magician!
I'm slowly making my way through the Bergman canon (thank you Netflix)and am having a ball. I saw this film about forty years ago and forgothow captivating it is. Things are not as they seem anywhere in thismovie. People die and come back to life, some can speak and then theycan't. It has great villains and an incredible cast. Of course, it'sthe story of a group of traveling showmen who arrive at the home ofsome wealthy people. They are seen as an inferior class and are forcedto grovel before they can earn their livings. They participate inbyplay with those who have come to see them (some from the localvillage), including he servants. There is sexual activity and a lot ofmanipulation. When the actual magic show begins, we are in on some ofthe tricks, but others are unexplainable. These people seem able to acton the minds of the characters and get them to expose their dirtysecrets. But, as we see, there are other forms of magic, not just thedark kind. Watch this a couple of times. You won't be disappointed.
straiton (11 May 2012)
satisfying on many levels: a reflection on Bergamn as illusionist
Many people may have missed the satisfaction of reading the extra layerof meaning in this film: that the "magician" is the the filmmaker orvisa versa, in this case Bergman himself. Without giving anything ofthe plot away, I can say that The Magician is a reflection on Bergamn'srole as a creator of illusions. He uses the story of a rovingtheatrical troupe with an magician to illuminate the metaphor. Theapparently abrupt turn of events at the end is Bergman's signal that heis the master of your perceptions in this medium, that he compares tothe experience of dreaming. It is interesting to compare this film with Fellini's 8 1/2, anotherfilmmaker's reflection on the process and meaning of film-making. Twovery different sensibilities are at work in these two films, but withsurprisingly close parallels in their endings, and involuted plots. I found this film highly satisfying on many levels, even taken at itsapparent face value, as a romp. Seen a second time the illusionistbegins to emerge more clearly, from the moment the film opens, with thelighting of the arc lamp of a film projector.
pontus-13 (06 May 2012)
Magical cinema
A wonderful film about Emanuel Vogler and his Magnetic health theater thatare forced to put up a magical show in front of a sceptical crowd lead bythe scientist Vergérus (another member of the Vergérus family, known fromother Bergman films). Max von Sydow plays Emanuel Vogler, the tormentedartist putting his faith in art and Gunnar Björnstrand the dissecting,denying scientist Vergérus.It's said that Emanuel Vogler is based on Bergman himself, Vergérus on theSwedish film critic Harry Schein and Manda Vogler on Inrid Thulin.Still waiting for this and other Bergman films to be released onDVD.10/10
JohnRouseMerriottChard (06 May 2012)
I didn't die, but I haunt the living.
Vogler's Magnetic Health Theater rolls into town and is promptlysummoned for a meet with the town big wigs. Hoping to expose allinvolved in the theatre as charlatans, the disbelievers request apersonal show before allowing the show to go public. With veryinteresting results.There is a belief amongst many Ingmar Begman fans that Ansiktet {TheMagician} is far too accessible a piece to be considered one of hisgreatest pieces. And whilst it does find Bergman more easy tounderstand for the casual viewer, it's however still complex enough tothrill and niggle the mind in equal measure. Taking two factors that hevery much adored, masks and magic, Bergman threads them off intovarious directions, and in the process testing us the audience as tojust what to expect from the story. The mysterious wonder of it all isnaturally aided by Bergman's use of light and shadowy trickery, symbolsloom heavy without dampening the theme on offer, with nothing of courseactually quite being as it seems.As is normally the case under the master director, the cast areuniformally strong. With Gunnar Bjornstrand and Ingrid Thulinparticularly standing out. But really this is all about tricks andideas relating to magic and its blending in with reality. So much sothat with the end comes an awakening that we the audience are indeedprops in one of Bergman's shows, and that can never be a bad or even anaccessible thing.A fascinating picture from a very fascinating director. 8/10
cheese_cake (29 April 2012)
what is art if not magic?
a group of people is touring the countryside in a coach. they include apurported magician (max van sydnow), his wife/assistant, an old cronewho they refer to as grandmother and who gives an impression ofpracticing witchcraft and a merry, complacently fat coachman. on theway they encounter a man who is dying of alcoholism, who stirs up somedeep feelings in the magician. when they reach a city, the man dies andthey fall in the clutches of the city magistrate on account of this andother matters. the elite of the city bands together to watch themagician's magic show. they mock the magician cruelly, accusing him ofbeing a charlatan, a fake. after the show, the magician plays a seriesof tricks on the parties, which scares the hell out of them, and makesit seem like supernatural forces are present among them. but, in theend, his tricks are revealed and in an astonishing moment, the magicianforgetting all his dignity and composure, grovels for a few kronor's(dollars). not getting even a single kronor, they are threatened withjail if they don't get out of town immediately and henceforth continueon their journey. many people do not get this movie, given that theartist/magician is shamed at the end. but that pivotal scene is totallymisunderstood...bergmann's movie's work on many levels and that whichis presented plainly is often the least plain, much like the magician'smagic. the magician/artist is correctly depicted as being unsure ofwhether he really is an artist or a fake. the conflict within him ispart of being a real artist. bergmann's point was that art and magicare similar. illusion is but a feint, a parry in a different direction,while the audience is lured unsuspecting into a bigger trap, which whenrevealed is devastatingly powerful in what it says about their psyche.the magician's magic is concerned not with tricks but with subtlepsychological manipulation. when the extent of his psychological graspis revealed in the end, he is immediately hated, because he understoodhis audience better than themselves. their whole mirage of being thesuperior scientific elite is shattered. about the only complaint onecould make about this movie is that the magician is overly tormented.as in other bergman movies, one wonders what is the source of thistorment. while it could be explained, it's best to enjoy thisadditional hue to the wonderful masterpiece, that is this movie, andlet it percolate in your psyche. it goes without saying that theperformance of the actors was superb, really exemplary. as was thecinematography. you will not see better cinema than this.
Galina (29 April 2012)
"The Tortured Soul of an Artist or Smiles of a Summer Night meets Hour of the Wolf."
With the exception for the abrupt and somehow rushed and unsatisfyingending, "Magician" is a typical (in a good sense of the word) Bergman'sfilm that I liked a lot. I would call it "The Tortured Soul of anArtist or Smiles of a Summer Night meets Hour of the Wolf." I did notknow what to expect from the film and was pleasantly surprised by aninteresting story; impressive (especially in the earlier scenes in thewoods) black and white cinematography; perfect blend of humor, intensedrama, and mystery. Acting was perfect - not a big surprise with thecast like that: Max von Sydow, Ingrid Thulin, Gunnar Björnstrand, BibiAndersson, and Erland Josephson. I'd like to mention Naima Wifstrand asGranny Vogler - what a great actress and what a character - she steppedout from the pages of the fairy tales, the old witch, wise andpowerful; she also provides many comical scenes.7.5/10
Review total: 14, showing from 1 to 14