A Fonte da Donzela

Título original: Jungfrukällan

1960
16
1 h 29 min

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Uma jovem virgem inocente, porém mimada, a serva ciumenta e grávida de sua família decidiram entregar velas na igreja, mas apenas uma delas retorna por causa dos eventos que acontecem na flo... Ler tudoUma jovem virgem inocente, porém mimada, a serva ciumenta e grávida de sua família decidiram entregar velas na igreja, mas apenas uma delas retorna por causa dos eventos que acontecem na floresta ao longo do caminho.Uma jovem virgem inocente, porém mimada, a serva ciumenta e grávida de sua família decidiram entregar velas na igreja, mas apenas uma delas retorna por causa dos eventos que acontecem na floresta ao longo do caminho.

Veja as informações de produção no IMDbPro

AVALIAÇÃO DA IMDb

8,0/10

32 mil

SUA AVALIAÇÃO

Veja as informações de produção no IMDbPro

Ganhou 1 Oscar
- 6 vitórias e 2 indicações no total

Curiosidades
The bridge keeper played by Axel Slangus clearly is supposed to be Odin. Beside his comments about recognizing Ingeri as if they have met before (suggesting he heard her prayer at the beginning of the film), there are several nods to Odinic lore. Before the bridge keeper appears, a raven is seated outside his hut. The raven was considered to be sacred to Odin. When the bridge keeper is finally shown up close, it can be seen that he is one-eyed, which is Odin's most prominent feature, having sacrificed an eye to attain wisdom. Finally, when Ingeri sits in the high-seat, she suddenly has seemingly clairvoyant hearing. This is a nod to Odin's high-seat Hlidskjalf, from which he could see all things happening in the world.

Erros de gravação
When the Boy Goat Herder is placing dirt on Karin's body, her torso moves even though she is supposed to be dead.

Citações
Töre: You see it, God, you see it. The innocent child's death and my revenge. You allowed it. I don't understand you. Yet now I beg your forgiveness. I know no other way to be reconciled with my own hands. I know no other way to live.

Conexões
Edited into Journal d un père (2023)

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Avaliação em destaque

9/10

Compelling and frightening

A powerhouse piece of filmmaking from one of the all-time great directors. This 14th-century exploration of good and evil, morality and chaos, love and revenge is pretty much a faultless viewing experience and one which retains its ability to shock and provoke thought in the viewer even today. I can only imagine what it would have been like to see this on first release.

The story is deceptively simple and yet filled with harrowing imagery. The assault in the woods is difficult to watch, even in these jaded times, and of course Bergman wrings the maximum tension out of it right from the very beginning. The second half is, perhaps, even more tense, with the expectation of impending violence and the strong, subtle filmmaking techniques (think: lots of lurking shadow, religious iconography, haunted faces). The excellent use of black and white photography reminded me of Kurosawa's work on RASHOMON. Max von Sydow holds it all together as the brusque father and family man, but he heads a cast who can do no wrong.

Wes Craven went for a lurid, contemporary remake in LAST HOUSE ON THE LEFT, but despite the graphic nature of Craven's film I don't think it holds a candle to this one.