Generally speaking, the artists who garner the praise of the cinematic establishment are those who stare into the barren soul of modern man and render its depravity in painstaking detail while hopefully, but not necessarily, offering a small glimmer of redemption in end. This is especially true of the films of Ingmar Bergman. This is a difficult tightrope to walk because the joke is that there is no real redemption in secular modernity. There is, at best, a competition of wills over some presumed “greater good”.
The praise that is accorded to Bergman is warranted for a few important reasons. First and foremost, his passion for the storytelling potential of cinema is genuine and awe inspiring. He appreciates the importance of crafting intimate and emotionally honest character portraits. The Serpent’s Egg meanders a bit, but for these reasons alone, Bergman commands your attention.
The Serpent’s Egg is a story of an American Jew living in Berlin in the twilight of the Weimar Republic. Most people will read this film as another spin on #NazisBad. Don’t believe them. Bergman has bigger fish to fry.
The fundamental delusion of the scientific materialist paradigm is the underlying belief that man’s moral defects can be quantified and stripped out through Pavlovian conditioning. The Serpent’s Egg may not be Bergman’s greatest film, but it is worth watching because it is the one film I’ve seen thus far which casts a bright light on the clinical and pathological architecture of this mindset.
Nowadays, we hear a constant drumbeat of feigned outrage and manufactured moral panic from the progressive establishment over the existential threat of a resurgent “fascist” sentiment in Europe and America. The shills who promulgate these concerns focus on bumper sticker moral transgressions like “racism” and “nationalism”, but anyone who has dedicated five minutes of genuine introspection over the real aims of the post-Enlightenment liberal project can easily see that Bergman is revealing something that is not limited to the national socialist mindset of pre-WWII Germany. When the behavior scientist Hans Vergerus confesses that the privately funded research in which he was engaged is destined to become global, it is among the most blood curdling lines ever uttered in cinema.