Reviewed by Glenn Erickson
Hour of the Wolf is one of Ingmar Bergman's shorter, simpler films. Although it confuses
many viewers, it's actually quite clear about its content: It's a horror film, and a good one, even
though Phil Hardy in his Encyclopedia of Horror Movies disparages Bergman as less
existential than being about "people unable to see further than the ends of their noses who have
all the time in the world to concentrate on their favorite (and only view)." Well, good for
Bergman. Even Travis Bickle warned against the pitfalls of morbid self-attention.
Alma Borg (Liv Ullmann) partly narrates a remembrance of her husband Johan (Max von
Sydow), a frustrated artist. Creatively dry, he succumbs to both drink and his inner demons, telling
Alma about his drawings of the island inhabitants as freaks and monsters. An invitation to the castle
of the local landowner becomes an uncomfortable exercise in humiliation and confusion. Then jealousy
over an old love affair and the confession of a horrible crime appear to push Johan over the edge
of madness. He shoots Alma and returns to the castle, which has now changed into a maze of cold
Liv Ullmann provides the pained humanity, Max von Sydow the tortured artist/Ingmar Bergman
substitute, and the rest of the cast are the
Dementia - like demons that haunt his
soul. Ullman's Alma Borg talks about emotional sharing so she sometimes sees them too, even if only
figuratively. For all we know, the couple may be the only inhabitants of their island, because all of
the encounters with the spectral creatures who live there seem to take place in a different
dimension. The suspicious old lady come to warn Alma is completely white. The sexually precocious,
demon-like boy who harasses Johan is seen in a flashback effectively styled with high grain and
contrast. Johan's old love Veronica Vogler (Ingrid Thulin) appears like a lamia out of the
Incubus. Bergman's original title was
The Cannibals and although these demons put on a good show of quasi-normality, they strike
out and bite without warning. They can behave invitingly, but their intent is to destroy.
The reality of going insane and imagining persecuting creatures might really be something
like Hour of the Wolf, for Bergman's fantasy
sequences have an oneiric bite, the sweaty texture of nightmares. It's true that Roman Polanski
made films that more effectively transform the normal into the nightmarish, but Bergman's
hallucinatory castle is more than intimidating. It's possible that these terrors were specifically
dreamed by the director.
Bergman also gets the concept right. The script solemnly states that the Hour of the Wolf is the
time of the night when people die and babies are born, but we know better. It's that strange period
between about 3:30 and 4:45 AM when one's psychological defenses are at their lowest ebb. I'm partly
Swedish and I
have to say I empathize with Bergman, for every so often I'll wake up scowling at some crazy dream
where I'm once again frantic about some petty self-judged offense from 30 years ago, or still worried
about school responsibilities from college. Petty crimes like not watering the
grass or following through on something seem like hanging offenses, the kind of things that make you
feel isolated and hopeless even as you know they're illusions.
Johan's going through the same thing, only his fantasies have taken over completely. He
believes he has murdered a young boy, which may be completely imagined, just as he seems to assume
that his gunshots have killed Alma. Just as in Dementia, he's "guilty, guilty, GUILTY."
The phantasmagoria inside poor Johan's head is excellently expressed. Shamed husbands walk on
ceilings, and personalities that before were just irritating are now militantly perverse. We see
in action the old lady that Johan described as "taking off her hat, and her face comes with it."
The castle is now a bottomless crypt full of demonic crows and delirious pigeons. Johan is made up
like a stage actor (or a painted "fairy") and placed in a ridiculously compromised situation, to
be laughed at like an artist his host once described.
Worse yet, for Johan there's no coming back. Alma relates a contrasting description of events in which
an unresponsive Johan is overcome by his inner demons and disappears into the marshes. Bergman leaves
us with the added
horror of responsibility, of someone loving and caring now equally tormented. Will Alma deteriorate
as did Johan, or is her psyche made of stronger stuff? 1
MGM's DVD of Hour of the Wolf was recalled and the pricey box set it came in was delayed, while
new discs were pressed of this title and
Shame. The decision was made to do this at
the last minute after research confirmed what a mini-storm on the internet claimed: Both films were
officially 1:33 but the first pressings of the discs were 1:66, with very narrow letterbox bars top
and bottom. I hate to sound like a phillistine to the purists, but in my practical experience the
overmatting on the average television monitor can alter the Aspect Ratio of a DVD image almost as
much as this mistake.
Whether the recall was the right thing to do I can't say, but I'm sure it made for some
upset people at MGM, where this kind of attention being lavished on a marginal-profit tier of film
isn't supposed to blow up in their faces. Sure, aspect ratios should be gotten right, but if that
was a rule enforced by law, MGM would have to recall a couple of hundred titles. I can't see that
What I can see happening, however, is the next person at MGM who proposes a swanky special edition
disc set to please the fans of rarified art films, being handed his head. And that's too bad.
I'm still reviewing Hour of the Wolf from the 1:66 original disc I was sent, the framing of
which has yet to offend me or inspire me to make demands online. The transfer is exceptional. What
looked murky or indistinct on VHS is cured here; when Johan walks into the
black swamp, we don't need to guess at forms in the darkness any more. A tree branch is just a
tree branch after all.
The extras for this disc are part of the same package of interviews and docus conducted in 2002 with
prime talent Liv Ullmann and Erland Josephson, and they're great. Ms. Ullmann must have wanted to
speak out on the subject, because she tells all openly and without reserve while still impressing us as
a great lady. The
weak link is the commentary and docu presence of Bergman author Marc Gervais. I haven't read his
work, but here he persists in pointing out the obvious and framing most of his comments
as open-ended questions or blind theories, a series of thesis statements with no discussion to back
them up. Being informed that Persona
was Bergman's psychological opus and this film his investigation into madness, isn't all that
The still galleries are nicely appointed, as are all of the menus and overall design of the DVD. The
Lopert (presumably U.S.) trailer contains beaucoup nudity, but appears to be a genuine 1968 release
On a scale of Excellent, Good, Fair, and Poor,
Hour of the Wolf rates:
Supplements: Commentary by Bergman biographer Marc Gervais,
The Search for Sanity featurette, Interviews with Liv Ullmann and Erland
Josephson, Photo galleries, trailer
Packaging: Keep case
Reviewed: March 30, 2004
1. There are probably many
more references like this in Woody Allen films, but if you remember the scene in Starlight
Memories where Allen wanders the woods following the trail of bodies left by his alter ego and finds a
group of aliens, it can somewhat mitigate the seriousness of Alma's nighttime trip into the swamp.
DVD Savant Text © Copyright 2004 Glenn Erickson
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