Mystic Island

To understand Ingmar Bergman's films, one must visit Fårö, a small isle off the island of Gotland, itself off Sweden's southeastern coast. The auteur's monastic home may surprise his fans, but it was in such setting that he was able to contemplate religion, a major theme in his works. Some believed he was a protestant atheist, but he was no different from Martin Scorsese and the other filmmakers who became renowned for spiritual visuals that were misinterpreted as blasphemy.

The inhabitants of Fårö didn't treat Bergman differently even if he was a celebrity outside of Sweden. But they knew their hometown was the site for some of his most memorable movies during his middle life. The filmmaker, born in Uppsala on July 14, 1918, would consider this island his home, its desolate features the perfect location for his films.

"The Seventh Seal" (1957) wasn't set in Fårö, but the backdrop evoked images of the island. Antonius Block, a weary knight, returned to Sweden after fighting in the Crusades. But the land was ravaged by the plague. Disillusioned, he spent his time playing the game of chess by himself until he met Death, resembling a monk. Block thought of engaging Death in a chess match, hoping this would derail his demise.

"I want to confess as best I can, but my heart is void. The void is a mirror. I see my face and feel loathing and horror. My indifference to men has shut me out. I live now in a world of ghosts, a prisoner in my dreams."

The title was taken from the Book of Revelation, and the story revolved around faith and death. Those familiar with the Swede's filmography would point out that this wasn't a coincidence; he was a pastor's son and growing up in a pious household aroused doubts in his young mind - and heart. (Bergman would revisit this chapter in his life in his semi-autobiographical feature, "Fanny and Alexander", released in 1983.) Of all the penetrating scenes in "The Seventh Seal", it was the "Dance of Death" that would haunt viewers. This final image would give them a hint of what his next projects would be.

The early 60s saw Bergman directing three films dealing with the lack of faith. It wasn't a trilogy, he kept on insisting, but he somehow agreed years later. "Through a Glass Darkly" (1961) was quite disturbing, as Karin, the only one (of four) characters who believed in God, was being treated for schizophrenia. David, her father, tried to help her but he was unable to. Writer's block came when the old fellow spent time with his daughter, and like most artists, they have their bouts of doubts and depression. "Winter Light" (1962) was about a minister dealing with his own existential crisis, while "The Silence" was a study of two sisters, estranged due to their different personalities.

Henning Mankell, Bergman's son-in-law, would attest to the writer and director being a voracious film watcher. He enjoyed Hollywood, but Fårö was close to his heart.