The Magician (1958) 720p YIFY Movie

The Magician (1958)

Ansiktet is a movie starring Max von Sydow, Ingrid Thulin, and Gunnar Bj?rnstrand. A traveling magician and his assistants are persecuted by authorities in Sweden of XIX century. Their captures, however, didn't bring victory to...

IMDB: 7.71 Likes

  • Genre: Comedy | Drama
  • Quality: 720p
  • Size: 839.36M
  • Resolution: 1280*800 / 23.976 fpsfps
  • Language: English
  • Run Time: 101
  • IMDB Rating: 7.7/10 
  • MPR: Normal
  • Peers/Seeds: 1 / 8

The Synopsis for The Magician (1958) 720p

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 leading townspeople (including the police chief and medical examiner) request that their troupe provide them a sample of their act, before allowing them public audiences. The scientific-minded disbelievers try to expose them as charlatans, but Vogler and his crew prove too clever for them.


The Director and Players for The Magician (1958) 720p

[Director]Ingmar Bergman
[Role:]Max von Sydow
[Role:]Naima Wifstrand
[Role:]Gunnar Bj?rnstrand
[Role:]Ingrid Thulin


The Reviews for The Magician (1958) 720p


Bergman's atypical abandon in conspiratorial ridicule of the dialectic face-off between science and occultReviewed bylasttimeisawVote: 7/10

Labeled by IMDb as a comedy, a genre one could ever relate to Bergman's school by the narrowest of margins, this is THE MAGICIAN, Bergman's atypical abandon in conspiratorial ridicule of the dialectic face-off between science and occult, but to what end?

A bandwagon transports the troupe of Vogler's Magnetic Health Theater to a unspecific town where a spectacle is booked, but the group's practice is challenged by Dr. Vergerus (Bj?rnstrand), the Minister of Health, who resolves to debunk their act as pure hocus-pocus. The gauntlet is thrown down, Albert Vogler (von Sydow), the head of the troupe, takes it up with fortitude and selective muteness. It appears that a complacent Dr. Vergerus has the drop on the frozen-out troupe, but a consequential skulduggery is in the pipeline aiming to turn the table and Bergman really jumps the shark to ensure that to happen in its money shot, which takes place inside a locked attic, where Dr. Vergerus gets spooked by an apparently resurrected Albert, although audience is tipped off well in advance. These sequences are rendered with striking chiaroscuro contrast and perturbing foley effect, in lieu of the usual reaction shots of screaming and panicking, Bj?rnstrand imbues a divine flair of restraint into the moment, wavering between being soundly startled and trying to recollect himself at any rate.

Essentially, this is an ensemble piece, schematic vignettes limning human interactions in sometimes frivolous (the love potion gimmick and its knock-on are too tongue-in-cheek to suspend our disbelief), sometimes gnomic (the usual apparition of a witch-like Naima Wifstrand as Albert's garrulous granny verges on being goosebump-inducing) manners, but there is no emphatic through-line to connect all the dots, it is merely a menagerie of grotesque characters, tainted by their heterogeneous foibles and quirks.

Mr. von Sydow brings about a sharp presence through the dichotomy of a man's camouflage and realness (especially by dint of his soul-stirring gaze and stoic looks), and Ingrid Thulin beautifully gets worked up as the intrepid wife of Albert with a gimlet eye. In addition, Bengt Ekerot (the iconic Death himself in THE SEVENTH SEAL 1957, 8.4/10) has a short but critical role as a dying actor succumbing to alcoholism, greatly ignites the screen whenever popping up with his self- destructive yakking, to a rather poignant effect.

Profoundly immersing oneself into this aesthetically captivating picture of Bergmanesque hallmark (camerawork, art production and their paraphernalia are all first-rate and enthralling to behold) amalgamated with a willfully flippant approach in its narrative, one might tend to be simultaneously attracted and grated, the larger-than-life philosophy which it has been dwelling on eventually comes off as nebulous and scattershot, but undeniably, THE MAGICIAN can also be deemed as a hard-earned fan's favourite because at least for once, Bergman lets up a bit his sharp-edged perspicacity and indoctrination, and salts this escapade-like fable with a dash of nonchalance and slyness.

"Light" Bergman?Reviewed bytim-764-291856Vote: 9/10

Some reviewers have set themselves out to compare The Magician squarely against Ingmar's previous two masterpieces, The Seventh Seal and Wild Strawberries and mark The Magician down, unfairly. It almost cannot be possible to attain the dizzy heights of adulation of those two and as such, we are treated something lighter and possibly, more enjoyable.

Mr Bergman, in his long illustrious career covered many types of subjects. Starting with straightforward and rather dull dramas, through kitchen-sink (Ikea style?!!) and onto the darker shades of human psychology. And beyond, sometimes.

The Seventh Seal succeeded due to its extraordinary storytelling and imagery - along with just about everything else. Wild Strawberries due to its poignancy and leading performances that resonated with a sense of recognition and support in its audience. Other titles offer dark, deep blackly brooding death obsessed monologues that brush against exquisite period dramas of superb detail and cinematography.

The Magician, though has always been one of my favourites. Neither comedy nor horror film but light, often humorous drama that touches upon the Wonder in us all. We all want to see behind a master of illusion and the mixture of nostalgia, set in the comparatively fairytale setting of Scandinavia. I almost find it more akin to Conan Doyle than the witch- hunting or almost unfathomable symbolisms found in many other Bergman's.

As Bergman is one of my favourite directors of all time, warts and all and have 47 of his films I'd say this has much to offer, both to fans such as myself as well being good family entertainment that strengthens his cinematic arsenal, not weakens it.

Religious symbolism in Ansiktet (The Magician)Reviewed byyabullarVote: 9/10

Most of Ingmar Bergman's films are meant to titillate the intellect. The Magician is no exception. It is rich with symbolism. I think it ranks right up there with "Death in Venice" on the list of misunderstood movies.

I believe the most rewarding level of meaning in "The Magician" is the religious one. Bergman was often concerned with the implications of religious beliefs. And almost always from the attitude of doubt. Consider the lines in The Seventh Seal where the vicious monk, annoyed with the knight's persistence, asks, "Will you never stop asking questions?" and the knight replies resolutely, "No. Never."

Watching this movie with the idea of Vogler as Jesus provides a perspective that informs the characters and their conduct. This melancholy magician, doubted and persecuted by the powerful, surrounded by strange and suspicious persons, is simultaneously visionary and earthy flesh and blood. He only wants to perform his miracles for the masses. Or is he a charlatan? What a powerful way to pose that question.

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