If there were any compelling reason for Ingmar Bergman to lend his hand to the cycle of movies, traceable back to Visconti's The Damned, dealing with the Nazi evil, this reason should have been expressed in terms other than left-over, reheatable metaphors of Nazi Germany as "hell," a "trap," and a "nightmare." Making his first movie ever outside Sweden, his first since his euphemistically termed "difficulties" with the Swedish tax people, Bergman has largely abandoned his private, personalized pool of obsessions and has dipped instead into a public, standardized pool. The solemnity of the subject matter and the puritanical disgust with which it is handled permit Bergman to indulge in tabloid sensationalism and horror-movie gore without compromising his or his art-house audience's virtue. Liv Ullmann, David Carradine. (1977) — Duncan Shepherd
This movie is not currently in theaters.