The Seventh Seal (1957)

A knight (Max von Sydow) and his squire (Gunnar Bjornstrand) are returning home from the Crusades. Exhausted, they decide to spend the night on a desolated beach. On the morning after, the knight encounters Death (Bengt Ekerot), who tells him that his time is up. The knight isn't afraid, but before he accepts his fate, he asks Death to answer a few questions for him – Does God exist? Who is He? Is there life after death? The knight also challenges Death to a game of chess. If he wins, Death will have to let him live. If he loses, Death could have his soul. Death quickly agrees and the two begin playing. Very soon, however, the knight realizes that he might have underestimated Death. As they continue their journey back home, the knight and his squire encounter a group of actors. They also befriend Jof/Joseph (Nils Poppe) and Mia/Marry (Bibi Andersson), a young couple with a beautiful child, who join them. While passing through a village devastated by the plague, the knight and his squire witness the burning of a young girl (Gunnel Lindblom) who has apparently embraced the devil. At his castle, the knight is greeted by his beloved wife (Inga Landgré) – everyone else has ran away fearing the plague; she is the only one left. The knight is moved and excited about the future. Suddenly, Death appears and declares that it is time that they finish their chess game. Partially inspired by Carl Orff's Carmina Burana, The Seventh Seal is undoubtedly one of the boldest films ever made. It is dark and notably pessimistic, questioning morality and faith in a manner few films since its release have been able to replicate. Nowadays, it is rightfully regarded as one of the greatest films of all time. The Seventh Seal, however, is not a universally praised film. During the years, some questioned its religious symbolism, pointing out how ironic Bergman's address of God and His existence is, countered only by the suspiciously clueless Death. Some also questioned the knight's pessimistic view on life (believed to be Bergman's) – was it fueled by his inability to accept reality, or was it His fault for not letting him rediscover the joy of life? The film's rhetoric, however, remains as fascinating today as it was fifty two years ago. The fact that despite progress we are still struggling to grasp the same old complexities of life that Bergman's characters struggled with is very telling. We pretend to have become more tolerant of each other and respectful of our differences – religious and cultural - but we have only become better at disguising our weaknesses and bargaining our fears. Technically, The Seventh Seal is a remarkable achievement. Cinematographer Gunnar Fischer's panoramic vistas are amongst the best ever captured on celluloid. From the opening scenes where we first encounter the knight and his squire on the desolated beach, to the passing flagellants carrying their crosses, to the incredibly effective close-ups of Death and the knight playing chess, The Seventh Seal is a notably beautiful film. The cast is also fantastic; Max von Sydow in particular is terrific as the disillusioned knight. Finally, Erik Nordgren's soundtrack blends exceptionally well with the film's dark and moody aura.