Час волка Vargtimmen (Час волка)

1968 Swedish film by Ingmar Bergman

Hour of the Wolf (Vargtimmen) is a 1968 Swedish psychological horror film directed by Ingmar Bergman and starring Max von Sydow and Liv Ullmann. The story explores the disappearance of fictional painter Johan Borg (von Sydow), who lived on an island with his wife Alma (Ullmann) while plagued with frightening visions and insomnia. Bergman originally conceived much of the story as part of an unproduced screenplay, The Cannibals, which he abandoned to make the 1966 film Persona. He took inspiration from Wolfgang Amadeus Mozart's 1791 opera The Magic Flute and E. T. A. Hoffmann's 1814 novella The Golden Pot, as well as some of his own nightmares. Principal photography took place at Hovs Hallar, Stockholm and Fårö. Themes include insanity, particularly as experienced by an artist, sexuality, and relationships, conveyed in a surreal style and with elements of folklore. Analysts have found allusions to vampire and werewolf legend. Authors have also connected the work to Bergman's life and his relationship with Ullmann; Bergman said he was experiencing his own "hour of the wolf" when he conceived the story. The film was initially met with negative reviews in Sweden. In later years Hour of the Wolf received generally positive reviews and was ranked one of the 50 greatest films ever made in a 2012 directors' poll by the British Film Institute. The film was followed by Bergman's thematically related films Shame (1968) and The Passion of Anna (1969). Ullmann won awards in 1968 for her performances in both Hour of the Wolf and Shame.

Painter Johan Borg and his pregnant young wife Alma live on the small island of Baltrum. He shares sketches with Alma of frightening visions he has had, and begins to give them names, including the Birdman, the Insects, the Meat Eaters, the Schoolmaster, and the Lady With a Hat. As his insomnia grows worse, Alma stays awake by his side. One day, an elderly lady stops by the house and tells Alma to read Johan's diary, which he hides under his bed. Alma discovers that Johan is haunted not only by the real or imaginary strangers, but also by images of his former lover, Veronica Vogler. She also reads that Johan was approached by Baron von Merkens, who lives in a nearby castle. The painter and his wife visit them and their household. After dinner, the baron's wife shows the couple into her bedroom, where she has a portrait of Veronica by Johan. After they leave the castle, Alma expresses to Johan her fears of losing him to the demons, as well as her will to persevere if such were to happen. One night, Alma again stays awake with Johan. He tells her of the "vargtimmen" ("Hour of the Wolf"), during which, he says, most births and deaths occur. He also recounts his childhood trauma of being locked into a closet where, as his parents said, a small person lived. He then recalls a confrontation with a small boy while out fishing on the island, which culminated with him killing the boy. Alma is shocked by Johan's confessions. Heerbrand, one of von Merkens's guests, shows up at the couple's house to invite them to another party at the castle, adding that Veronica Vogler is among the invitees. He places a pistol on the table, for protection against "small animals", and leaves. Johan and Alma begin quarreling over his obsession with Veronica. Johan finally picks up the pistol, shoots Alma and runs to the castle. Johan attends the party. The baron's guests are revealed to be the demons that Johan described to Alma. As he rushes through the castle searching for Veronica, he meets Lindhorst, who applies cosmetics to his pale face and dresses him in a silk robe. He then leads Johan to her. Johan finds Veronica, who appears to be dead; as he looks over her naked body, she suddenly sits up and laughs. Johan is physically attacked by the demons and flees into underbrush. Alma, who was injured by one of the shots but is only left with a scar, searches the forest for her husband. She witnesses the attacks on him before he finally disappears, leaving her alone in the woods. Alma later shares her story and her husband's diary. She wonders whether the fact that she and Johan lived together for so long and became so similar was why she could see his Man Eaters, and whether she would have been better able to protect him if she had loved him less, or more.

Inspirations for the story included Bergman's recurring nightmares, featuring a woman who took off her own face and an entity that walked on ceilings. Johan's description of being locked in a closet as a boy was based on Bergman's childhood. An external influence was Wolfgang Amadeus Mozart's The Magic Flute, with the opera's character Papageno transformed into an evil Birdman. Bergman's interpretation of The Magic Flute is echoed through his character Lindhorst. Bergman credited German author E. T. A. Hoffmann as an additional major influence. Elements of the story also originated from Bergman's manuscript The Cannibals or The Maneaters, which he finished in 1964 and planned to shoot on Hallands Väderö. Following Persona, he decided to make a reworked version of The Cannibals, under the new title Hour of the Wolf. Bergman claimed he first came across the term "hour of the wolf" in a Latin source, though he did not identify the source and may have coined the term himself. He later said that at the time of the story's conception, he was experiencing his own "hour of the wolf", and was "freed" from it upon the production's completion. During the latter stages of post production of Persona in 1966, Bergman held a meeting to begin planning Hour of the Wolf. He later said the film builds on Persona:

Bergman had planned to cast Bibi Andersson and Liv Ullmann in The Cannibals, having met Ullmann through his regular collaborator Andersson on a Stockholm street. Ullmann placed the meeting in 1964, and said that Bergman recognized her and asked her on the spot if she would like to work with him. Ullmann later became Bergman's lover and became pregnant with their daughter Linn. After a separation Bergman told her he had written a pregnant character, Alma, for her. He mailed her the screenplay for Hour of the Wolf and she returned to Fårö from Norway for the part. Erland Josephson was busy as a managing director of the Royal Dramatic Theatre, but desired a role in Hour of the Wolf, having seen earlier versions of the Cannibals screenplay and deciding a frightening film would be fun. Naima Wifstrand's part as the lady with the hat was her last film role.

Principal photography took place at Hovs Hallar and Råsunda Studios in Stockholm, and on the island of Fårö. Hovs Hallar's coast was particularly used for exterior shots. She said there were no rehearsals or discussion of the film's meaning. According to von Sydow, Bergman wanted to film the dinner table scene in one take, for the "continuity" actors experience in stage plays. Ultimately, cinematographer Sven Nykvist took a seat in front of the actors at the table and panned quickly, with von Sydow explaining, "it's very difficult to stop each pan at a moment when you have an ideal composition on each person". The ceiling walking scene was achieved through trick photography. Critic Robin Wood compares Hour of the Wolf to Persona in how Alma becomes able to see Johan's "inner horrors", while in Persona Alma is affected by Elisabet's views. While recognizing insanity as a major theme, writer José Teodoro argues another (shared with Bergman's later Shame and The Passion of Anna) is "the realization that it is impossible for any one person to truly know another", with Alma realizing she never understood her husband. Authors have related the story's couple to Bergman's real life relationships: Thomas theorizes that during production Ullmann was at peace' with the world, while her genius boyfriend was not". near expressionist, or gothic. Professor Fabio Pezzetti Tonion writes that the film's "stylistic ciphers" create "friction between objective and subjective elements". Teodoro describes the film as "eerily hushed", with sparing dialogue accentuating other sounds, and compares its atmosphere to the 1980 film The Shining. MGM released Hour of the Wolf on DVD both in the U. S. and the UK in single disc editions and as part of a box set including Shame, The Passion of Anna, The Serpent's Egg and Persona. The U. S. release contains bonus material missing on the UK edition, while the UK box set omits Persona. On 20 November 2018, The Criterion Collection released a Blu ray version in Region A, along with 38 other Bergman films, in the set Ingmar Bergman's Cinema.

The film met with negative reviews in Sweden, with C. H. Svenstedt of Svenska Dagbladet criticizing Bergman for preaching his message and Dagens Nyheters Mauritz Edström writing viewers could not identify with the film. For Vecko Journalen, Stig Ahlgren wrote a piece examining the story's connections to The Magic Flute. In 1968, Renata Adler from The New York Times opined that it is "not one of Bergman's great films", but positively reviewed the acting of von Sydow, Ullmann and Thulin. Roger Ebert rated Hour of the Wolf three out of four, calling it "a difficult film, and not altogether a successful one", and crediting Bergman with achieving "deeply emotional results with very stark, almost objective, scenes". In New York, Judith Crist called it "a minor effort" from Bergman, not adding much to his past filmography, while crediting it for "stark intellectualizing and lush fantasizing". Time hailed von Sydow as "gothically brilliant" and stated the film cemented Ullmann's position as one of the foremost Scandinavian actresses, also crediting Sven Nykvist for "phosphorescent" cinematography. Critic Richard Schickel judged the visuals "more exciting" than those in Persona, but said Hour of the Wolf appeared to be a "regression". At the 1968 National Board of Review Awards, Ullmann was named Best Actress for both Hour of the Wolf and Shame. At the 1968 National Society of Film Critics Awards, Ullmann was named Best Actress for both films and Bergman won Best Director for both films. On review aggregator Rotten Tomatoes, the film holds an approval rating of 92%, based on 24 reviews with an average rating of 7.73/10. In 1992, critic James Monaco rated Hour of the Wolf three out of five, dubbing it a "fine acting exercise". The New Yorker recalled it in 1999 as "probably the darkest of Ingmar Bergman’s journeys into his shadowy interior", mentioning the "ferocity" of the scene where Johan murders a boy. In 2000 Kim Newman of Empire Online praised Hour of the Wolf as "one of the most sinisterly beautiful black and white horror films you will ever see". Time Out London called it "a brilliant gothic fantasy". In the British Film Institute's 2012 Sight & Sound polls, Hour of the Wolf received three critics' votes and 11 directors' votes, placing it at 44th in the latter poll. In his 2014 Movie Guide, Leonard Maltin rated the film three out of four, calling it "lesser Bergman" but with "first rate" performances. Hour of the Wolf is listed in the film reference book 1001 Movies You Must See Before You Die, which cited references to the work of E. T. A. Hoffmann. IndieWire also named it in 2015 as one of the 15 greatest Bergman films, calling it "not wholly successful" but citing the wall walking scene (comparing it to the work of David Lynch) and the scene in which Johan murders the boy. Glenn Kenny cited Hour of the Wolf and Bergman's 1963 The Silence as "mesmerizing nightmares" in The New York Times in 2018. Don Druker wrote a negative review for Chicago Reader, assessing it as "outlandish" and "a magnificent failure". In 2021, The film was ranked at No. 43 by Time Out on their list of "The 100 best horror movies".

Andrei Tarkovsky considered it a masterpiece and named it one of the 77 greatest works of cinema. Bergman later made the films Shame (1968) and The Passion of Anna (1969). Author Jerry Vermilye wrote that in exploring "the thread of violence intruding on ordinary lives," Hour of the Wolf, Shame and The Passion of Anna represent a trilogy. Author Amir Cohen Shalev concurs; the three films are sometimes called the "Fårö trilogy". WBAI's longest running radio program takes its name from the film. The "Hour of the Wolf" radio show has run continuously since 1972 and concentrates on the literature of science fiction and fantasy. A stage adaptation of the film also played at the Royal Dramatic Theatre in 2011, directed by Malin Stenberg.