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Mozart: The Magic Flute
     

Mozart: The Magic Flute

3.0 7
Director: Ingmar Bergman, Josef Kostlinger, Irma Urrila, Ulrik Cold

Cast: Ingmar Bergman, Josef Kostlinger, Irma Urrila, Ulrik Cold

 

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Ingmar Bergman's adaptation of The Magic Flute comes to DVD with a standard full-frame transfer. The Swedish soundtrack is rendered in PCM Stereo. English subtitles are accessible. There are no supplemental materials of any consequence, but this DVD makes the film look as good as it ever has on home video. This Criterion release should be of interest to anyone

Overview

Ingmar Bergman's adaptation of The Magic Flute comes to DVD with a standard full-frame transfer. The Swedish soundtrack is rendered in PCM Stereo. English subtitles are accessible. There are no supplemental materials of any consequence, but this DVD makes the film look as good as it ever has on home video. This Criterion release should be of interest to anyone with a love of cinema.

Editorial Reviews

Barnes & Noble - Karen Backstein
Music and cinema come together in the most brilliant -- and accessible -- cinematic adaptation of an opera ever made. Performed by singers who can act as well as vocalize, Ingmar Bergman's richly textured version of Mozart's The Magic Flute is a beautifully staged mixture of fairy tale and Masonic allegory that captures all of the opera's drama, humor, romance, and underlying philosophy. In the original libretto a sorcerer kidnaps Pamina, daughter of the Queen of the Night, and handsome Prince Tamino sets out to rescue her with the promised reward of her hand in marriage. Bergman makes cuts to the text and score and adds his own inventive plot points, such as turning the queen and the sorcerer into a divorced couple. Sven Nykvist, Bergman's longtime cinematographer, works visual marvels, using subtle light and shade to infuse each scene with an otherworldly atmosphere. The film was shot in Stockholm's Drottningholm Theatre in the presence of an enraptured audience, and the close-ups of delighted spectators and glimpses of the stars backstage add to the charm.

Product Details

Release Date:
05/16/2000
UPC:
0037429147528
Original Release:
1975
Rating:
NR
Source:
Criterion
Region Code:
1
Presentation:
[Full Frame]
Sound:
[stereo]
Time:
2:15:00
Sales rank:
15,522

Special Features

Lush color transfer, featuring the rarely heard stereo score in uncompressed PCM sound; Optimal image quality: RSDL dual-layer edition

Cast & Crew

Scene Index

Side #1 --
1. Logos/Overture [9:15]
2. A Dragon and Three Ladies [6:11]
3. A Fowler Gay [3:01]
4. The Enchanted Locket [4:34]
5. A Mother's Lament [6:00]
6. Papageno Learns His Lesson [5:59]
7. Pamina's Plight [7:21]
8. There Gates [7:22]
9. Oh Endless Night [4:27]
10. Magic Bells [3:52]
11. Long Live Sarastro [7:35]
12. Intermission [:15]
13. Memebership in the Brotherhood [2:20]
14. Trial of Darkness [6:00]
15. Monostatos' Lament [5:21]
16. Within These Sacred Portals [1:24]
17. The Last Temptation of Papegeno [3:55]
18. Trial by Silence [4:34]
19. Pamina's Despair [6:30]
20. Papageno's Despair [5:34]
21. Papagena at Last [5:13]
22. Trial by Fire [4:11]
23. Love Conquers All [3:32]

Customer Reviews

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Mozart: The Magic Flute 3 out of 5 based on 0 ratings. 7 reviews.
Guest More than 1 year ago
I saw this film at a showing where the singer who did Papageno spoke beforehand. While, after reading other reviews, I agree that Bergman did not follow Mozart to a tee, the film is still a masterful piece of work. I think it opens up the world to the wonder that is opera, and that is outstanding.
Guest More than 1 year ago
A day or so after showing this to my children, my little three year old boy said, "Mommy! I wanna see Aapa-gaybo!" Took me a little while to figure out he meant Papageno. I was thrilled! (In fact, if you find a better Papageno, I'll buy you a new Buick!) Not a perfect rendition, but cute, colorful, and fun! Why would anyone knock the singing?! I studied Opera in college...The cast is splendid. Most certainly recommended! (For those of us with kids, I also recommend getting the DVD format so you can skip & jump to favorite scenes or to replay a favorite scene with ease.)
Guest More than 1 year ago
I saw this for the first time when I was three. I really liked it. I saw it again several years later but did not find it quite as impressive. I really annoyed when I found out that it was in Swedish. Several delightful scenes were left out. The only really good voice is the Queen of Night. It is not worth your money but if you're a big fan of Igmar bergman,you'll probably still want this in your video library.
Guest More than 1 year ago
It has been years since I last saw this movie, not because I did not like it but because I could not find it. Until I saw this movie I did not enjoy opera. Bergman combined comedy and beauty and made it a very enjoyable experience for a novice like me and opened the entire world of opera and for that I am grateful.
Anonymous More than 1 year ago
Anonymous More than 1 year ago
Guest More than 1 year ago
Having heard this film extolled, I was really disappointed. I will grant that Bergman gets some of the individual scenes exactly right, such as the ''Pa-pa-pa'' scene when Papageno discovers that Papagena is really an attractive young woman and not an old hag. But there deadly flaws in his conception of this work, where his staging contradicts the music and text. For example, when Papageno first comes upon Monostatos and Pamina: as Mozart wrote this scene, both Monostatos and Papageno are frightened at the sight of one another. As Bergman stages it, only Papageno is frightened; Monostatos is very aggressive. How, then, is the audience to understand why BOTH Monostatos and Papageno run away, and why it is Papageno who recovers from his fright and returns? The characterization of Sarastro is another serious problem: Mozart's music portrays a serene and confident man, but throughout the film, Bergman's visual portrayal is of a tormented and frightened one. This is a fatal misinterpretation. Also, I can't understand how Bergman dared to change the order of scenes and to cut so much of the dialog. Does he imagine that he knows better than Mozart how the music and drama should progress? Perhaps he would like to change the order of the movements in Mozart's symphonies! In any event, the musical performance is mediocre. The conducting and playing display nothing more than routine competence. Only two of the singers (Sarastro and, especially, Papageno) are above the ordinary; the rest range from so-so to really bad. I suspect that Bergman's reputation as a genius film director may have colored some viewers' perceptions of this performance. The director of an opera needs to understand the music, and I don't think Bergman did.