The Touch is the total expression of love.


his was famed Swedish director Ingmar Bergman's first English-language film, the story of a contented young wife and mother whose marriage is disrupted by an inexplicable attraction. Bergman regular Bibi Andersson plays Karin Vergerus, who is married to a prominent but stodgy surgeon, Andreas (Max Von Sydow, another of Bergman's regular troupe). They live in a small town, and their marriage is peaceful but unexciting. Enter an itinerant American Jewish archaeologist, David Kovac (Elliott Gould, in his first and last Bergman film). David's freedom to travel and live life fully is intoxicating to Karin, who yearns for adventure. But Karin still loves her husband and her family, and she ends up feeling torn between conflicting desires. Compared to earlier Bergman films which were packed with symbolism and psychological imagery, The Touch is a very straightforward and uncomplicated story. The score features music by Jan Johansson, who died in 1968.


Instead the question of why Karin turns away from Andreas seems intentionally perplexing. The dialogue and acting of the lovers is cerebral and cold, as if they were reciting dazedly on a stage, astounding themselves with their actions and feelings, and acting on an impulse isolated from their personalities. This impulse or drive is not eros, as especially at the beginning of their affair sex is more of a problem than a release for the lovers.
The central metaphor of the film is a medieval wooden statue of Mary, recently excavated after being buried for centuries, analogous to Gould's and Andersson's potential to be lovers or man and woman. But with the disinterment of the Mary, insect larvae come alive inside her, corroding her from within, much as David and Karin's awakening causes them similar destruction.


Release Date: July 14, 1971 @ The Baronet

Distrib: Cinerama Releasing