One element that always stands out in an Ingmar Bergman film is the meaningful dialog. This film.is no exception. It is a well written work with perfectly executed dialog. If any film in the history cinema will make you feel, this one certainly will. The young Karin was perhaps a little mischievous, but was more-or-less innocent and good-natured. She had obviously been spoiled by her mother and to a lesser degree, by her father. Her vanity and naivety got her into a dreadful situation. That scene was difficult to watch due to its brutality as it was presented in such a realistic manner. One might think the scene could have benefited from the use of theme music, however, I would argue that the lack of music gives it a much more realistic feel. It gives the scene an eerie vibe. I felt like I witnessed an awful crime and a helpless feeling came over me. This is obviously what Ingmar Bergman was going for and it worked to perfection. The film ends on a rather touching note with mankind accepting their sinful imperfections while seeking repentance from God. The miraculous appearance of the spring right where Karin's body lay was a nice touch to an already touching scene. Ingeri washing herself for the first time in the film, in effect, attempting to wash away her sins. This motion picture is very special to me. It is one of many masterpieces in the marvelous career of Ingmar Bergman. He never made the same film twice. He was arguably the greatest filmmaker of all time. I highly recommend this film. 97/100

Grim even by Ingmar Bergman's standards, The Virgin Spring is certainly one of his most bleak and disturbing films. Set in medieval Sweden, a young girl is sexually assaulted and murdered by a trio of goat herders, who later that evening find themselves seeking refuge in the home of the victim's father. It is a film about rape, murder, guilt, revenge and misguided religious devotion and is unrelenting in its impact. Bergman's direction, as always, is impeccable, as is Sven Nykvist cinematography. Filled with powerful images and meaningful symbolism, it is a film of grotesque beauty that is difficult to forget and even more difficult to digest.

A well-directed film regarding a horrible tragedy. I watched this film not knowing much about it except that it was directed by Bergman. The film begins with some over-the-top smiley acting which I thought would continue throughout the film. However, the plot takes a tragic turn which allows the film to become more engaging as you don't know where the plot is going and what the reactions of the other characters will be. The film's acting is okay and the cinematography isn't good. However, the plot and screenplay helped keep my interest. Although an early film of his, Bergman's direction should be commended as the pace of the film never slows down too much. The film's direction and screenplay is good, however, most other elements of the film are sub-standard. The film won the Best Foreign Language Picture Oscar. I have not seen the other nominees except for Kapo which I did not like and was definitely not as well-made as The Virgin Spring. The film was also nominated for Best Costume Design which I didn't think made the film stand out but did allow me to believe the medieval Swedish world these characters were living in.

A masterpiece of movie-making. The good and the evil are acknowledged and not questioned, nor condemned by Bergman. It is the way it should be.

One of the most powerful legends in the history of cinematography! (with "The Seven Seal") Terrible, beautiful, spellbinding. The scene with a tree - timeless.

I have to admit, I've never been a massive fan of Bergman's flicks, but they always look spectacular. The use of natural light, and lingering close-up shots are something else. He always picks actors with uncompromisingly interesting looking faces too, which helps.

While difficult to watch given the subject matter, it is masterfully filmed. Unlike some of Bergman's prior works, the themes did not resonate as loudly in this film. Realism, brutality and an overall bleakness dominated the movie-watching experience. The visceral experience (achieved visually) outweighed the cerebral experience (thematic exploration).

In a sense, it is a story of rape & revenge. However, being from the hands of Ingmar Bergman, it is far from being a b-movie. This is AAA. Just a couple years after The Seventh Seal, the action is built in the Swedish middle age once more. It is built as a theater tragedy, and, as so, it grows up to the to the tragic resolution. The film is not a splatter at all, however the violence here is brutal: both the crime and the revenge. Not a drop of real blood is shown (and also fake blood very scarcely, and only once), nothing to be compared to Tarantino, for example: but, while in a Tarantino the violence is obviously a fake, here it is emotionally real: it strikes you in your guts and your soul. However, the poetic moments are many: everything is immersed into the magic of the great Nordic forest, and quotations to the religion - both Christian and pagan - are many: notable the representation of the last supper, repeated twice, and, in the end, what I can only compare to "La Pietà", by Michelangelo: that is what leave the viewer, leaving the cinema, with a beautiful feeling inside. Thank to my local cine club for finding and showing these milestone of the cinema.

What a masterpiece! Glad I finally got to sit down and watch this film from Ingmar Bergman, one of the all-time greatest directors. It's a very powerful film and not an easy watch, but so well done. I have always loved the work of cinematographer Sven Nykvist, but this might be one of the most beautiful B&W films I have ever seen. This Swedish classic is most highly recommended for cinema lovers!

In watching these old Ingmar Bergman movies, the thought occurs to me that Bergman was to cinema what the golden age of Russian literature was to writing. His films have a certain depth to them, and feel meaty with their observations on human nature and their questions of religion and philosophy. 'The Virgin Spring', based on a 13th century Swedish ballad, is no exception. If you think about it, the story of 'The Virgin Spring' encapsulates quite a bit of the effect of religion on those who believe, starting with a girl needing to mind her chastity until marriage, and continuing on with a virgin must deliver candles for Matins. When a horrible thing happens to the girl, her companion and her mother both believe it's because of them, that God had listened to their jealous prayers, while her father is stricken and asks that time-old question, "God, how could you let this happen?" However, none of them challenge that most deeply held assertion, that God exists in the first place. After exacting brutal vengeance, including killing a child, the grief-ridden father asks God for forgiveness, and promises to build him a church on the site. He still believes in spite of it all, wants to remain upright in the best way he can conceive, and is both admirable and flawed at the same time. In telling this story with elements of Job ("Why?") and Exodus/Leviticus ("An eye for an eye"), Bergman examines human nature - the inclination to do evil, and the morality of vengeance - as well as the nature of God, and our relationship to Him. How you perceive the film's meaning will likely depend on your most personal views, but it will certainly make you think. As for the filmmaking, Bergman keeps his storytelling taut - every scene counts - and he captures plenty of great moments, including some beautiful shots of the outdoors in Sweden, and heavy emotions on the faces of his actors. One scene in particular made the film controversial, however, and no review would be complete without mentioning it. The rape is horrific, and seriously disturbing. We see evil coming as Bergman masterfully builds up tension, but are still shocked - both at the incredible cruelty of the men, but also at Bergman keeping the camera on them as they commit the act (especially for 1960). He knew he didn't have to show a lot of flesh to show how vile, disgusting, degrading, and animalistic a rape is, and it's a shame the film was banned in some places given the prevalence of rape in society. The scene speaks to the darkest aspect of man, and yet oozes authenticity. As to whether religion casts a darkness of its own on man, the shadow of ignorance, or gives his life meaning and elevates him over nihilism and chaos, the reader will have to decide, but I believe Bergman is in the latter camp with this film. He is a bit over the top at the end, hitting us over the head with the miracle of the 'virgin spring' that gushes forth, and while that's presumably how the 13th century legend goes, it's the reason I knocked my rating down a bit for what is still a very good film.

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For me, this film became extraordinarily powerful in the last scene. At first, its slow pace and relative quiet and stillness was not engaging me, but as time went on I realized just how much the silence actually was communicating. Simple gestures or facial expressions or shot juxtapositions said so much, and said it more poignantly than simple dialogue would have.

The Virgin Spring offers up a moral conundrum; a young girl is raped and murdered and her father seeks retribution. It he justified in doing so? Is he a hypocrite for espousing religious rhetoric and succumbing to the passions innate to human nature? Why would a god do this to a religious family at all? Those who practice religion are portrayed as cruel and judgmental, focusing on building huge, indulgent churches while the average man lives in huts. This is not an indictment of religion, however; the fact that the finale suggests rebirth through the divine and offers an explanation for why man would feel the need to honor their deity through massive monuments rebukes that interpretation entirely. Bergman simply questions the nature of man's relationship to god, whether or not man is futile in shouting up at a man in the sky they've never seen. He offers no answers because there aren't any, the conundrum unsolvable, ambiguous beyond explanation, a decision that rings true to life.

Enmarcada en un universo similar al del Séptimo Sello, El Manantial de la Doncella es fábula que nos habla de la inocencia, la maldad, la venganza, el respeto a las tradiciones y el abrazo de nuevas. Todo ello a través de una trágica historia de desgracia, venganza y redención que ha servido como inspiración al cine posterior. La decisión de jugar con el blanco y negro es más que acertada, ya que juega en favor de ese ambiente semi fantástico que acompaña al film en todo momento, a la vez que a sus momentos más oscuros y tenebrosos. Birgitta Pettersson roba la película durante los breves momentos en los que aparece, incluso a Max Von Sydow, aunque el actor sueco está más que a la altura de las circunstancias cuando llega el momento. Son películas como esta las que hacen darme cuenta de la buena mano artística de Irgman Bergman, que hacen que lo respete cada día más como director, y uno de los más grandes.

Another greatly disturbing, and greatly powerful, Ingmar Bergman film. Shocking and beautifully filmed, this is an absolutely great film!

Belíssima fotografia neste violento filme de Bergman - mas nada gratuito.

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 masterpieces. Although the story plays straightforwardly, greater enjoyment comes through pondering the meanings behind Bergman's symbolic tapestry. 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. Sven Nykvist's luminous black-and-white photography conspiring with the austerity of Bergman's imagery to create an extraordinary metaphysical charge. Easily lost amid a brilliant career, The Virgin Spring once again shows Bergman's control in capturing the furthest ranges of emotion. Bergman's instinctive approach to filmmaking - like his gripping use of long wordless moments filled with pictures of great power- is in evidence, with some unforgettable scenes that even today, almost 50 years later, have fresh impact. 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. VERDICT: "High-Quality Stuff" - [Positive Reaction] This is a rating to a movie I view as very entertaining and well made, and definitely worth paying the full price at a theatre to see or own on DVD. It is not perfect, but it is definitely excellent... (Films that are rated 3.5 or 4 stars)

So What!!!!!!!!!!!!!!!

Based on a medieval Swedish tale, The Virgin Spring is twisted tale of morality, justice, revenge and salvation. A young girl from a wealthy family was raped and murdered on her way to light candle in the church for virgin Mary, the rapists sought shelter in the girl's family and upon learning the crime they did, the girl's father executed his own brand of justice. The theme of religion was particularly important, you have Ingrei the pagan servant who is secretly resentful of Mareta, she failed to help her and allowed her to be killed as Odin's wrath. Mareta represents the goodness of the faithful, while Tore is God who smites evil. I love the camera-work and lighting used, the long shot of characters were able to reflect the emotions of each character while close ups brought the tension and suspense into full effect. I love the light cast on the character's faces showing the contrast of light and darkness, reflecting the moral dilemma the characters faced. The acting was also excellent, from beginning to the end, there was not a single dull moment, everything was meaningful and the symbolism used was able to fully convey the ideas behind the film. It is a masterpiece which would be later adapted into The Last House on the Left.

Jungfrukallan is a harrowing and starkly brutal yet somehow beautiful and poetic film about revenge, compassion and the silence of God, one of Bergman's most prominent themes.