These great reviews are really outlandish. One star for being Mozart and another for being Bergman. Yes it sounds great. But Bergman is completely wrong for this. Shot almost entirely in closeups with no scope or any of the good things live opera, or cinema, can offer. This is just a bunch of 온라인카지노추천 show closeups. Good as a recording to listen to only. There is no reason to look at the screen at all.

A near perfect rendition of Mozart's near perfect operetta.

I recently revisited The Magic Flute, having seen it as a child. So much passed over my head then; it is a masterpiece of filmatised opera.

So what happens when you mix the best of both mediums, Bergman and Mozart? Well, the result is disappointing and improvable, but enjoyable nevertheless.

bergmen brings mozart's opera to the big screen.

My first actual full Opera experience. I think I want to see more. I was surprised at the comedy in the Opera. That's just my own ignorance. Lots of fun. I'll watch this again someday with my children.

Characteristically intimate and whimsical, as a Bergman film, but the opera doesn't gain much appeal by translation to a two-dimensional medium.

No need to be cliche and say that Sven Nykvist's cinematography was luscious and that the set design/costume work was impeccable.

Bergman's film on Mozart's Opera is a delight to watch. Even though he films the opera on stage, he films it in such a way you forget you are watching a stage performance. If you are a fan of operas you will love this film.

Flawless and perfect. Simply wonderful and amazing.

Princess Pamina (Urrila) is suddenly kidnapped by a sorcerer (Cold), and her mother, Queen of the Night (Nordin) sends wanderer Tamino (Köstlinger) and his carefree companion Papageno (Hagegård) to save her. It turns out that Tamino secretly yearns for the princess as she does him. But it turns out that things are not what it seems, and evil seems to stand in the way of the two. An adaptation of Mozart's famous opera "The Magic Flute", Ingmar Bergman's "Trollflöjten" not only creates a wonderful remake of the play, but offers an excellent art house film. While it isn't as memorable as Bergman's other films, and it doesn't leave an impression with you, it's hard to deny that this isn't a masterful exercise for the Swedish master himself. Filmed in the theatre (I'm not kidding), Bergman with such ease takes the magic of seeing a play and creates it into a interesting film, even if at times it doesn't work. Though I'm not a fan of opera, I found the music to be a feast to the ears, even if it does change its original German language into Swedish (which isn't necessarily a bad thing). With every performers hard work, it just sounds wonderful, and the fact that Sven Nyqvist films such sumptuous cinematography just based off of a theatrical stage is mesmerizing. "Trollflöjten" doesn't even come close to one of Bergman's best, but with the Criterion Collection's flawless print, and the unique touches added, it's a fitting yet entertaining spectacle of the opera. Bergman in my opinion, is the only director in the world that could pull off such a interesting take for a film.

Mr. Yours Truly has PLAYed THE Title Role! (and never stops Bragging about It)!.. Wicked!..

Not a usual Bergman film, it is quite normal. I did like the music and the acting was good. But, the film is quite predictable, especially the second act. The hero easily aces his tasks. Tedious!

A delighful gem, one of the best Opera adaptations ever made, and also the lightest in tone among the films shot by Ingmar Bergman. It's like he decided to allow himself (and the viewers) a colorful pause from the dark dramas he's been directing for most of his career.

This is my first Bergman film, and I get the feeling that his movies and I are not going to be friends. There's interesting things about this movie but it couldn't hold my attention.

Unless you are a fan of opera this will be difficult to get through as it just like watching the performance from the audience with the addition of close ups. However, what really kills the film is the random shots backstage and close ups of a young girl in the audience that really kills any momentum the story has built up as well as the whole aesthetic of watching a live performance on film.

A beautiful adaptation of my favourite Opera. The acting is superb and keeping it in a theatre like setting makes the experience seem as you are enjoying the opera with an audience. I particularly like Hakan Hagegard's portrayal of Papageno, such a jubilant character.

An incredibly creative and innovative adaptation of Mozart's opera that stands the test of time perfectly. Bergman creates an interesting blend of film and theatre. The brilliant combination of Nykvist's splendid camerawork and Mozart's music was way ahead of its time. Many of the filters, shots and angles used in "The Magic Flute" would dominate the aesthetics of music television in the years to come.

"Charming" is not a word you usually associate with Ingmar Bergman. A couple of his comedies and the Ekdahl gatherings in Fanny & Alexander, maybe. But this one is very charming. Bergman has a ball with this, skillfully blending the blatantly theatrical with the purely cinematic. The cutaways to the smiling child in the audience and the backstage antics during the intermission reminds us that it's all in good fun. Surely for an opera fan, this is one of the best filmed operas there is. The thing is... I'm not an opera fan. I do have some affection for this one, because it's prominently featured in my beloved Amadeus, because Papageno is awesome (wonderfully portrayed here by Hakan Hagegard) and because, well, it's Ingmar Bergman. But I must say there are some parts I find quite boring. Particularly in the second act, with all of Pamina and Tamino's brooding over those somber, un-catchy tunes. If it wasn't for the intensely joyful Papageno moments occasionally breaking through the dreariness, this would be a pretty tough section to get through. But the rest of it is, as I said, quite charming. In a perverse way, it's also fitting that this comes after Scenes from a Marriage, since at its core it's essentially about a very, very bitter divorce.

expectations met and exceeded :)