Word: knights
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Dates: during 1990-1999
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Thanks to the cross fire of contradictions that divide Berlusconi's two allies, the country again has the makings of a ruling coalition every bit as fractious as the 52 revolving-door administrations that came before. "It's a difficult alliance," Berlusconi concedes. But, adds Il Cavaliere ("the Knight," as he is known), "a general doesn't fight a war with the soldiers he wants. He fights with the ones...
Despite the success of his comedy, Bergman didn't dally long in the realms of the humorous. In "The Seventh Seal," which was made after "Smiles of a Summer Night," Bergman turns fuly to the exploration of despair. In this medieval allegory, Antonius Block (Max von Sydow), a Knight, returns with his squire Jons (Gunnar Bjornstrand) to Sweden after ten years in the Crusades. Death, played inndibly by Bengt Ekerot, comes to take the Knight, but the Knight, Seeking to win a respite, challenges Death to a game of chess. The Knight and Jons travel the contryside, which is ravaged...
...Knight seks answers, knowledge, assurances, but he cannot find them anywhere. He is confronted by the effects of the plague, trains of flagellants and a young girl accused of witchcraft and sentenced to be burned at the stake. The Knight and Jons meet up with Jof's family, and together they cross the forest at night. There, they witness the execution of the of the young witch, played by Mausd Hansson. This is the most powerful scene in the film, and one of the most memorable in the history of the movies. Hansson's performance leaves one awestruck. She truly...
...immediacy of the film is impressive; as Pauline Kael wrote in her review, the film almsot seems to play itself out in a medieval present. At first there is a temptation to mock the seriousness of the film and the self-importance of the Knight's quest, which at times appears like a remnant of 1950s existentialist philosophy; but the images in "The Seventh Seal" are so hypnotically charged that one is pulled in and held fast...
Ekerot, swathed in black robes, his angular, bony face impossibly white, stands with Maria Casares in Jean Cocteau's "Orpheus" and the peasant in Roberto Gavalodon's "Macario" as one of the greatest visualizations of death in cinema. At one point, Jof sees the Knight playing chess with Death, and he escapes with Mia and their son. The Knight travels to his castle with several of his companios, and it is there that Death finds them. As the film closes, Jof has a vision of Death leading the Knight and his companions in a dance across the horizon...