| THIS IS A READ-ONLY ARCHIVE FROM THE SORABJI.COM MESSAGE BOARDS (1995-2016). |
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This story takes place in 1846, in Sweden. We find a mute magician by the name Albert Emanuel Vogler (Max von Sydow) being called to the house of a rich statesman. Dr. Vogler is the leader of his troupe called The Vogler Magnetic Health Healers. He is accompanied by his grandmother (Naima Wifstrand), an assistant by the name of Tubal (Ake Fridell) and another assistant by the name of Mr.Aman (Ingrid Thulin). He also has accompanied by his carriage drivers Simson and Rustan. The troupe is called to the house of Consul Egerman (Erland Josephson). He is a rich statesman who has a bet with his friend Dr.Vergerus (Gunnar Bjornstrand), counselor to the Ministry of Health. These two are accompanied by Chief Superintendent Starbucks (Toivo Pawlo), head of the local police department. These three gentlemen have called the Dr. Vogler to satisfy a bet that his methods of "magnetic healing" are under false pretense. Dr. Vergerus is a skeptic and is sternly a realist, one who believes everything has an explanation. Mr. Egerman however has a shadow of belief. Officer Starbeck is merely a prop of idiocy, I would go as far as to equate him to the ridiculous and fat Chief Wiggum from Matt Groenings T.V hit The Simpson's. Both characters display gross ignorance and borderline sow-like qualities. There are a handful of extras including, Sara, a young and extremely sexy servant in the Ergerman household. She soon finds a special liking for the young carriage driver Simson. There is also Sofia, and older woman who also works at the Ergerman house who soon finds herself "prostituted" by the ambitious and deceptive Mr. Tubal. Upon being put under the spotlight and interrogated by the stiff Dr. Vergerus, we see the pain Dr. Vogler is in. You can see it in his face practically, the pain just ripping apart his insides. It is still unknown if the pain has any historical pretense but again the film takes on a very existentialist demeanor therefore making the source of his pain irreverent other than just, well, existing. It is soon revealed that "Mr.Aman", who never talks is actually Dr. Vogler's wife, the androgynous look was apparent from the get go, it was only a matter of time before she was revealed. The wedding ring seen on Dr. Vogler's hand early in the film is also a clue. It seems Dr. Vogler is powered by belief given to him by the followers of his troupe. Like his wife, even he wears a wig and costume, not only are they out running the law, but they are hiding from their personal troubles as well. However he faces an obstacle and that is Dr. Vergerus. It must not go without mentioning that in two separate instances, an estranged "dead" man stumbles across the seen, each time into Dr. Vogler's hands, an attempt to restore the humanity which seems to be sucked out of Dr. Vogler. He seems at his best after an encounter with this "dying man". To top things, Dr. Vogler is also challenged by the lovely Mrs. Egerman. She has been saddened by the death of her child, (according to her husband anyway) but upon seeing the Vogler arrive into her home she makes a bold step forward to arouse and attract Vogler, even bluntly inviting him to her chamber late in the evening. Again throwing Vogler a curve ball, challenging his faith, challenging him, period. The reoccurring existential theme is everywhere in this movie. Another asset to this film is the brief interlude of sexual play. We see this best in Sara, a young, buxom blonde who lures the young and gullible carriage driver Mr. Simson after they have taken some "love potion" pawned off to them by Mr. Tubal. This scene proves to be one of the most titillating scenes when they find themselves in a barn during a thunderstorm. Clothes start to fly and the rest is up to the imagination. All throughout the first half of this film, Bergman uses numerous innuendoes, which, at the time this film was made, is a breath of fresh air. Another sexually charged scene is the one in which Mrs. Egerman invites Vogler to her room after her husband is asleep. Her chest literally about to fall out of her dress, her sincerity and lust literally pour out of her mouth. All the while Vogler says nothing. The thought of it is actually quite erotic, but for Vogler to take her up on it (as we soon learn he doesn't) would prove to be very un-existential. It would be too easy and too gratifying. With existential nature of this film, we as the viewer are confronted with many decisions. However existential this film plays out to be, the ending is quit the opposite. We are convinced that Dr. Vogler is dead in a staged death during his presentation to Mr. Egermen and company. When Dr. Vergerus is doing his examination of "Vogler", the real Dr. Vogler proceeds to torture him with taunting tricks. Dr. Vogler was able to substitute his body with the dead man aforementioned. Dr.Vergerus is taunted by the unknown and literally scared almost to death before Dr. Vogler reveals himself. In the end, a message is brought to the estate of Mr. Egerman from the King himself requesting Dr. Vogler's presence before the court to entertain. This proves to be quite a happy ending for such an existential film and even a little disappointing. However worthless the ending may be, the film scores high marks and deserves to be seen universally. |
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