The Rite describes an apparently (once) renowned acting trio - Hans, Sebastian, and Thea - facing a judicial inquiry over an obscenity charge. Told through a series of vignettes, the film initially offers a series of interesting character studies: Hans, the level-headed frontman of the troupe who has bottled up his personal sufferings; Thea, the neurotic wife with an erratic personality; Sebastian, a temperamental drunk having an affair with Thea; and, of course, the judge conducting the inquiry. These characters and the various overlapping relationships between and amongst them are revealed as the movie progresses.
But, the longer the film played, the less sense it made. Perhaps it's a commentary on the legal system and society's antiquated laws, outside forces attempting to humiliate and belittle the individual. Perhaps it's a critique of the creative process and art, a commentary on how commercial success can lead to inferior output and attempts to shock the senses simply to remain relevant. Or perhaps it's simply yet another Bergman movie featuring actors playing actors exploring intimate relationships, this time through a sort of love triangle.
No one talks in real life like Bergman's characters do, and accepting that his film creations all converse in on-the-nose philosophical dialogue seems to be a baseline requirement for watching and enjoying his cinema. Even accepting that premise, The Rite stands out for its pretentious script. Whatever this film was attempting to accomplish, it did not succeed. As the credits roll, the viewer certainly is not left in the tremors of the same quasi-religious ecstasy experienced by the judge.
But, the longer the film played, the less sense it made. Perhaps it's a commentary on the legal system and society's antiquated laws, outside forces attempting to humiliate and belittle the individual. Perhaps it's a critique of the creative process and art, a commentary on how commercial success can lead to inferior output and attempts to shock the senses simply to remain relevant. Or perhaps it's simply yet another Bergman movie featuring actors playing actors exploring intimate relationships, this time through a sort of love triangle.
No one talks in real life like Bergman's characters do, and accepting that his film creations all converse in on-the-nose philosophical dialogue seems to be a baseline requirement for watching and enjoying his cinema. Even accepting that premise, The Rite stands out for its pretentious script. Whatever this film was attempting to accomplish, it did not succeed. As the credits roll, the viewer certainly is not left in the tremors of the same quasi-religious ecstasy experienced by the judge.