Rijndri Load of rubbish!!

ChanFamous I wanted to like it more than I actually did... But much of the humor totally escaped me and I walked out only mildly impressed.

AshUnow This is a small, humorous movie in some ways, but it has a huge heart. What a nice experience.

Bob This is one of the best movies I’ve seen in a very long time. You have to go and see this on the big screen.

rodrig58 Ingmar Bergman, one of the greatest film directors, one of the most prominent art craftsmen to tell a story through images, dialogue and narrative. Many absolute masterpieces under his belt, most not easily digested and understood. This "The Serpent's Egg" it's no exception. It's not one of those metaphor films, but it has many harsh scenes. Liv Ullmann is exceptional in the role of Manuela Rosenberg. Exceptional is Heinz Bennent as Hans Vergerus. Gert Fröbe also excels in what he can do best, police inspector, as in so many other movies (see Mabuse series). And David Carradine is also credible and efficient in the role of the Jew Abel Rosenberg. The film has great atmosphere and super cabaret scenes with specific music from the Nazi rise era in Germany. It's not Bergman's best film but it's worth seeing.

ferdinand1932 The design, locations, photography and minor character actors all are excellent. Ullman seems unsure of what she is doing and Carradine just wanders and when he speaks it's unconvincing.The real problem is the script as Bergman made an elementary scriptwriting error, the sort of basic thing that is criticized at a first draft stage: the protagonist is not interesting and does not change but seeks information and so he goes from place to place all documenting the sordid life in Berlin in 1923 and making portentious allusions to Nazism, but as such he has little or no dramatic action until the end when he and the audience are told exactly why and what is going on. In a book that structure might have worked but not in film.

sol- Often regarded as the nadir of Bergman's career, this film is not as terrible as one might understand it to be from its poor reputation, however it is not a very good film either. There are a handful of rather well composed shots, and other than the zooming, Sven Nykvist's camera-work is good. These are however the only real trademarks of Bergman in the film, and it does look as if anyone could have directed it. The two major downfalls though of the film are its screenplay and the acting by David Carradine. The script is dull, and the plot becomes rather messy as the film progresses, and even if the revelation is interesting, its insertion is quite awkward. Carradine tends to stumble about on set, and when he is not stumbling he is either haphazardly screaming or gaping. Many others have commented on his casting - it is hard to disagree that he was not the best choice. Either way, the film is hardly terrible, with some interesting ideas in the final quarter, some well directed scenes, and a great beginning credits sequence - but it is a low point for Bergman.

nstro3zy Let me preface by saying that I love Bergman films; Persona, Shame, and The Passion of Anna are among my all-time favorites. This is probably his weakest effort. There are so many things wrong with this film, but most of them are rooted in the underdeveloped characters. I had no feeling for Abel, whereas I should have identified with him fully; his character felt like little more than a vehicle to display the images that Bergman had in his head. The characters are secondary to the plot, which isn't a problem when the storyline is interesting and absorbing, but in this case there is very little to speak of in the way of a story. What it basically boils down to is that bad things happen to some Jewish guy with an American accent who is living in Germany. This somehow translates into a statement on the early warning signs of Nazism in Germany and the futility of life. The characters and story aren't fleshed out enough to carry the weighty themes that Bergman is trying to hoist on the viewer.