Ingmar Bergman on religions fanaticism in his The Seventh Seal

Bergman's The Seventh Seal (1956) remains one of Bergman's most accessible films - a beautiful, haunting, terrifying and strangely uplifting look at the Crusades, loss of faith, religious insanity and the fear of death. The Seventh Seal is so rich in symbolism and philosophy that one can take away different meanings and interpretations after each viewing (I watch the film about once a year and always find something new I had missed in previous viewings).

The film follows Antonius Block (the great Max Von Sydow) and his squire Jons (Gunnar Bjornstrand) as they return to their castle following a decade fighting in the crusades. The Black Plague runs rampant, stories of multiple suns and woman birthing monstrosities has heightened the fanatical belief that the Apocalypse is at hand and decrepit corpses are scattered about in the barren landscape. The stark black and white photography lends credence to the idea that the end is at hand.

The Knight Block, still attired with his Crusade armor and sword, has lost faith in God and seeks some kind of sign that he really exists. His squire Jons is bitter at having fought a war based on the fanatical ramblings of religious leaders who revel themselves to be thieves and deviants. Bloch seeks a religious revelation in every horrible scene he stumbles upon while Jons looks to help his fellow man and to avenge injustices.

Death appears to Block announcing he has come to claim him, Block shrewdly compliments Death on his legendary chess expertise and challenges him to a match. If Block wins he will be given a reprieve, loses and death will claim him - Death agrees to let Block keep living as long as the match continues - they will meet along his journey to complete a move until someone is victorious. Bengt Ekerot as Death, clad completely in black with only his pale face exposed, has become one of the most famous icons of world cinema (satirized in various films and shows, including a turn in Bill and Ted's Bogus Adventure), and the set up match between the knight and death being one of the most brilliant and exhilarating ideas in film.

As the journey to the castle continues Bergman illustrates the madness of the era with a series of stunning pieces (Extrordinary Popular Delusions and the Madness of Crowds chapter on the crusades makes terrific reading when contemplating the film). The march of self flagellating"holy men" and cripples is horrifically effective (one can sense these scenes greatly influenced Bava and Jodorowsky), as is the revolting predicament of the young girl on her way to be burned at the stake for Witchcraft (she is blamed for having started the plague).

Block continues his game with death while frantically searching for God (or a meaning to all the madness) when he happens upon the traveling musicians Jof and Mia. Enjoying a snack of fresh strawberries and milk, he plays with their young child and enjoys the company of the friendly couple. Block perhaps realizes that this tranquility is Heaven and that he could have enjoyed the past ten years of his life enjoying similar moments with his wife instead of wasting them in a hideous war.

Death defeats the knight in their game (but not before Block knocks over the pieces and distracts death - allowing his traveling companions Jof, Mia and son to escape) telling Bloch he will come that evening to claim him and his companions. Block and his companions arrive at the castle and are greeted by the knight's wife, who has been awaiting their arrival. While Block's wife reads Revelations, death carries through on his promise.

The next morning, a peaceful sunny day, the musician Jof sees a vision of death leading the party across a desolate horizon.