In the midst of a civil war, former violinists Jan and Eva Rosenberg, who have a tempestuous marriage, run a farm on a rural island. In spite of their best efforts to escape their homeland, the war impinges on every aspect of their lives.
Andreas, a man struggling with the recent demise of his marriage and his own emotional isolation, befriends a married couple also in the midst of psychological turmoil. In turn he meets ... See full summary »
Two estranged sisters, Ester and Anna, and Anna's 10-year-old son travel to the Central European country on the verge of war. Ester becomes seriously ill and the three of them move into a hotel in a small town called Timoka.
When 'Vogler's Magnetic Health Theater' comes to town, there's bound to be a spectacle. Reading reports of a variety of supernatural disturbances at Vogler's prior performances abroad, the ... See full summary »
Max von Sydow,
A sensitive exploration of the tragic irony of the psychiatrist suffering with mental illness. Dr. Jenny Isaksson is a psychiatrist married to another psychiatrist; both are successful in ... See full summary »
While traveling in caravan through the country of Sweden, one member of the decadent Alberti Circus tells the owner and ringmaster Albert Johansson a sad story about the clown Frost: seven ... See full summary »
Harry Lund is a nineteen-year-old man who meets Monika, a romantic, reckless and rebellious seventeen-year-old, and they fall in love. They leave their families and jobs in their small town... See full summary »
An artist in crisis is haunted by nightmares from the past in Ingmar Bergman's only horror film, which takes place on a windy island. During "the hour of the wolf" - between midnight and dawn - he tells his wife about his most painful memories. Written by
Fredrik Klasson <email@example.com>
"The Hour of the Wolf" is the hour between night and dawn. It is the hour when most people die. It is the hour when the sleepless are haunted by their deepest fear, when ghosts and demons are most powerful.
Ingmar Bergman originally penned the script in 1964 under the title "The Cannibals". A serious bout of pneumonia led him to reconsider the project whilst lying in hospital; he deemed it to be potentially too expensive in concept and execution. Bergman revised the script idea into a more low budget piece to accompany Persona (1966). See more »
Corinne von Merkens:
My husband is rather jealous. He is a splendid lover.
[lifts her dress to show her upper, inner thigh]
Corinne von Merkens:
Look at this mark, by the way. It's a scar from another man's, shall we say, "advances." A perpetual source of renewed excitement. It's all very trivial, of course, but to me it's stimulating. Soon I'll have to think up something new. This mark can't keep its fascination forever. Can you help me?
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I can't agree with most of the comments above, and particularly find myself taking the completely opposing view to Adrian Ekdahl. While HOUR OF THE WOLF seems eminently worth viewing (what Bergman film isn't?), I think it's substantially less compelling and essential than SHAME, made the same year with the same two principal players.
It took me a long time to see VARGTIMMEN, and I've finally seen it tonight on the big screen. But while I feel it's an essential enough part of the overall Bergman canon, I'd have to place it squarely in the b-list as far as its coherence and overall effectiveness.
While it contains an unusual level of creepiness by Bergman standards (and a complete journey into surrealism, brief as it is, in the final reel that seems very un-Bergmanesque -- he loves his symbolic images, but rarely has he gone this ambiguously surreal route), the truth seems to be that many many directors have achieved more with this kind of film than this film does. Bergman seems a bit out of his element here. Because most of his films utilize his trademark techniques in the service of a subtle, finely-observed, provocative examination of some difficult aspect of human existence, VARGTIMMEN seems to lose its coherence quite a bit in pursuit of something which is admittedly unusual for Bergman.
Ultimately it seems to examine three themes: 1) Can we, if haunted by things that become inarticulable, go mad from them? 2) Can we, if we love or are attuned enough to those we love, share their demons with them? 3) Schizophrenia. (This appears to me to be what Johan Borg seems to be suffering from).
These are interesting themes, to be sure. But Bergman doesn't seem to really go very deeply into them. Instead, he's kind of skimming the surface (uncharacteristic for him) while enjoying (if that can be the right word) the ambiguity of our knowledge of what's going on. Strangely, while I rarely find Bergman emptily pretentious or needlessly arty (which he is obviously occasionally accused of), this film brought me as close to feeling that way as anything I've ever seen of his. Perhaps it's because he wasn't truly at home in these themes of supernatural/horror, etc. This film actually seems DERIVATIVE of better films, like a Franju's EYES WITHOUT A FACE or even DEAD OF NIGHT. Rarely does Bergman suffer in comparison with other filmmakers who came before him. SHAME (again, made that same year, virtually right after this film), is by contrast a deeply troubling, finely wrought examination of far more (to me) compelling, complex, essential and provocative human issues. I would return again and again to SHAME, but I feel no real need to see HOUR OF THE WOLF again.
It belongs in the canon, yes, and should be seen. But while it is a bit unusual visually, I think it winds up seeming rather minor thematically in the overall pantheon of his work.
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