Max Von Sydow (1929-2020)

by Nathaniel R

It is with great sadness we must announce the passing of Max von Sydow. The international acting legend had worked steadily since his big screen debut in Sweden in 1949. Multiple Swedish classics followed including Miss Julie, Wild Strawberries, and The Virgin Spring. International fame happened quickly through his mutli-film collaboration with Sweden's most celebrated auteur Ingmar Bergman. By the mid 60s he began headlining international productions, first as Jesus in The Greatest Story Ever Told (1965) and by the 1970s he was a mandatory for prestige all star productions (Voyage of the Damned, The Exorcist). He's been a mainstay of cinema for 70 years, that exceedingly memorable long face flipping from sweet to sinister to authoritative to wise (and everything inbetween) on command for the demands of any role.

Before his death he completed a lead role in an as yet unreleased WW II drama Echoes of the Past which is currently in post-production. Let's pray it's a fitting swansong for one of the inarguable greats.

We had the privilege of interviewing him over coffee when he was making the awards rounds for The Diving Bell and Butterfly and he was sweet, humble, and talkative about his career and the cinema. We've begged the Academy to give him an Honorary Oscar quite frequently but, tragically, they didn't listen and they've missed their long long window to do so.

After the jump the first 10 Max von Sydow roles that jumped to mind in no particular order when we heard the news...

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Showbiz History: Bergman's Persona, Roseanne's Debut, Einsenstein's Trip

5 random things that happened on this day, October 18th, in history

1867 The USA take possession of Alaska (formerly owned by Russia). Happy Alaska Day if we have any readers there. Enjoy your holiday.

1961 West Side Story has its world premiere in New York City. It will go on to become a blockbuster at the box office and win 10 Oscars including Best Picture. We recently did a deep dive right here that you should read if you missed. It's currently being remade (sigh) by Steven Spielberg.

← 1966 Persona premieres in Sweden. Ingmar Bergman's masterpiece (well, one of them) will hit US theaters in March the following year. Strangely, given its reputation now and Bergman's position in world cinema then, it was not one of his Oscar successes...

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Bergman Centennial: In "Shame" Love is a Battlefield

Any passing visitor who’s toiled amongst the weeds of Ingmar Bergman’s vast garden of emotional entanglements will surely recognize the same familiar seeds of chaos, conflict, and spiritual carnage sown between the damned pistel and stamen of whichever variety of lovers feature into a particular film – but in Shame (1968), his scabbed and battered masterwork of wartime wreckage, the Swedish auteur lays fire to the roses. Incendiary combat between dueling psyches in intimate locations fuels much of his filmography – the mother-daughter melee of Autumn Sonata and frosty schoolhouse rejection in Winter Light immediately jump to mind – but Shame ignites a maximalist fuse within its scope that quite literally drops a bomb on the long-suffering couple at the broken heart of its story. By contrasting the domestic drama of Eva and Jan Rosenberg’s (Liv Ullmann and Max von Sydow) decomposing marriage against a backdrop of military destruction and societal decay, Bergman turns the canvas of the soul inside out and externalizes the conflict of a toxic relationship into the very warzone that is exacerbating its decline.

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Bergman Centennial: Death and "The Seventh Seal"

by Chris Feil

The Seventh Seal begins with some of the most enigmatic and iconic imagery of Ingmar Bergman’s career. Which is saying something considering the auteur’s filmography is composed almost entirely of meditative frames. Here Max von Sydow's post-Crusades knight Antonious Block is visited by a black cloaked Death and the two take part in a literal and intellectual game of chess. It’s a grave way to start a film, one that still endures for its thematic impact and how it establishes the rest of its stark narrative as spiritually timeless.

Named for the passage in the Book of Revelation marking the final opening of the apocalyptic scrolls and the resulting period of silence in heaven, the film lives in that quiet Godlessness...

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Bergman Centennial: Persona and the Problem of "Motherliness"

Team Experience will be celebrating one of the world's most acclaimed auteurs this week for the 100th anniversary of Ingmar Bergman's birth. Here's Lynn Lee

Persona has been called the Mount Everest of film critics, and no wonder.  For a film that clocks in at a lean 84 minutes and turns on a deceptively simple premise – a celebrated actress (Liv Ullmann) falls mysteriously silent and is consigned to the care of a chatty, insecure nurse (Bibi Andersson) – it contains multitudes.  In the 50-plus years since its debut, its potential meanings have been explored from almost every conceivable angle, be it existential, metaphysical, psychological, psychosexual, queer, feminist, the role of art and the artist, or just the film’s pure cinematic texture and experimental devices.  But Persona is a slippery beast: just when you think you have a theory as to what it’s “about,” it melts and reformulates into something else entirely.

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