The rite
| Movie | |
|---|---|
| German title | The rite |
| Original title | rites |
| Country of production | Sweden |
| original language | Swedish |
| Publishing year | 1969 |
| length | 75 (72) minutes |
| Age rating | FSK 16 |
| Rod | |
| Director | Ingmar Bergman |
| script | Ingmar Bergman |
| production | Lars-Owe Carlberg |
| camera | Sven Nykvist |
| cut | Siv canal |
| occupation | |
| |
| synchronization | |
The Rite (Original title: rites ) is in black and white twisted Swedish film drama by Ingmar Bergman from the year 1969 .
action
A trio of artists, the outwardly calm and superior Hans Winkelmann, his emotionally unstable wife Thea and the aggressive, (self-) destructive Sebastian Fisher, are cited before the examining magistrate Abrahamson for an allegedly obscene pantomime performance. The group is already breaking up internally: Winkelmann is just as tired of his neurotic, sexually unfaithful and alcoholic wife as his colleague Fisher, who keeps borrowing money from him and sleeps with Thea. Abrahamson, who has a heart condition and is plagued by irrational fears, first hears the actors together, then each of them individually. During the interrogation of Thea, he loses his temper, hits her and sexually assaults her. The trio offers Abrahamson to give him a private demonstration of the pantomime in question; he agrees. During the performance of the so-called rite, Abrahamson dies of a heart attack after Fisher humiliates him.
background
Bergman wrote the screenplay for Der Ritus as a pure dialogue piece in the summer of 1967 before shooting his film Schande , but only realized it after Schande had finished production . His own company "Cinematograph" produced the film for Swedish television . It was shot within a few days in the studios of the film city , Solna .
The rite was first broadcast on Swedish television on March 25, 1969. The first time the film was shown in Germany was on January 20, 1970 on ZDF .
analysis
Movie title
Bergman explained the title of the film as follows: “The rite is not what you end up doing. […] The rite is the game between the artist and his audience and society. This mutual mixture of humiliation and shared need. That is the ritual. "
Stylistic devices
The rite , described by Bergman as a "black comedy" is not working, unlike many other works of the director with contrasting close-ups and long shots , but almost exclusively with close-ups and medium shots to the "rhythm of television" into account and details like To highlight “faces, eyes, voices, hands”. According to Bergman, the desire to visualize details was also the reason why he ultimately decided against a theater play and a film adaptation.
characters
Bergman about the characters in the film: “More or less consciously I split myself into three people. [Sebastian Fisher is] disturbed in his feelings, always on the verge of collapse, but probably creative and deeply anarchist [...] soft and brutal. Hans Winkelmann [...] is orderly, extremely disciplined, feels responsibility. "Thea described Bergman as a semi-conscious attempt to shape his intuition; she is “faceless”, “yielding”, “extremely sensitive” and receives “sudden inspirations, speaks to God, angels and demons”. Only in the combination of the three very different personalities, according to Bergman, can their community function and their creativity be maintained.
Position in Bergman's work
The central event of the film - a group of actors falls out of favor with the local authorities and gives them a personal introduction that resembles an act of revenge - Bergman had already addressed in The Face . Bergman also referred to parallels between the characters in The Rite , The Face and other films: He saw Thea as the sister of the character Karin in Wie in ein Spiegel , who speaks to the "spider god" who speaks to Agnes in screams and whispers that in a state between life and death, and the Aman / Manda in the face, alternating between sexual identities . Sebastian is a continuation of the Dr. Vogler in The Face , only "dissolved and destroyed" and "at the beginning of ruin". He also confirmed Torsten Manns ' assumption that the priest's appearance was a tribute to The Seventh Seal .
reception
"With a relentlessly sharp gaze, Ingmar Bergman analyzes the mental life of his characters in this strictly constructed psychodrama and at the same time ponders the responsibility and effectiveness of artistic representation."
“Bergman's four-person piece, similar to a chamber play, which essentially takes up the theme of the relationship between art and the bourgeois environment. Numerous, intuitively conceived conflict situations of the person or the artist are indicated; intelligent associations can provide valuable thought impulses. But there is no more far-reaching arc of tension, a self-sustaining concept that would also be appropriately expressed formally. "
Web links
- The rite in the Internet Movie Database (English)
- The rite on the website of the Ingmar Bergman Foundation
Individual evidence
- ↑ film 2060 meters in length, according to Ingmar Bergman Foundation [1] , this corresponds to a film screening at 24 frames per second frame rate for a period of 75 minutes, with the PAL 72 minutes -TV-broadcast at 25 frames per second.
- ↑ Via search / film search
- ↑ a b Hauke Lange-Fuchs: Ingmar Bergman: His films - his life, Heyne, Munich 1988, ISBN 3-453-02622-5 , pp. 197-200 u. 296.
- ↑ a b c d Stig Björkman, Torsten Manns, Jonas Sima: Bergman on Bergman, Fischer, Frankfurt 1987, ISBN 3-596-24478-1 , pp. 265-273.
- ↑ a b The rite in the lexicon of international film .
- ↑ a b Ingmar Bergman: Pictures, Kiepenheuer and Witsch, Cologne 1991, ISBN 3-462-02133-8 , pp. 155-163.
- ↑ Evangelical Press Association Munich, Review No. 62/1970