The Seventh Seal full HD movie download free with screenpaly story, dialogue LYRICS and STAR Cast

Disillusioned knight Antonius Block (Max von Sydow) and his nihilistic squire Jöns (Gunnar Björnstrand) return after fighting in the Crusades and find Denmark being ravaged by the plague. On the beach immediately after their arrival, the knight encounters Death (Bengt Ekerot), personified as a pale, black-cowled figure resembling a monk. The knight, in the middle of a chess game he has been playing alone, challenges Death to a chess match, believing that he can forestall his demise as long as the game continues. Death agrees, and they start a new game.

The other characters in the story, except for Jof in the end, do not see Death, and when the chess board comes out at various times in the story, they believe the knight is continuing his habit of playing alone.

The knight with his squire heads for his castle. Along the way, they pass some actors, Jof (Nils Poppe) and his wife Mia (Bibi Andersson), with their infant son Mikael and their actor-manager Jonas Skat (Erik Strandmark). Jof is also a juggler and has visions of Jesus and Mary, although Mia is skeptical of them (especially since Jof is also given to lying).

Block and Jöns enter a church where a fresco of the Dance of Death is being painted. The squire draws a small figure representing himself, while chiding the artist for colluding in the religious and ideological fervour which has led to the disastrous crusade. Still hoping for resolution and comfort within his faith, the knight goes to the confessional where he is joined by Death in the robe of a priest. During confession, Block admits that his life has been futile and without meaning, but that he wants to perform "one meaningful deed". Upon revealing the chess strategy that will save his life, the knight discovers that the priest is Death, who promises to remember the tactics. Leaving the church, the knight speaks to a young woman (Maud Hansson) who has been condemned to be burned at the stake for consorting with the devil. He believes she will tell him about life beyond death, only to discover a woman beyond her sanity.

Shortly thereafter, Jöns searches an abandoned village for water. He saves a mute servant girl (Gunnel Lindblom) from being raped by a man robbing a corpse. He recognizes the man as Raval (Bertil Anderberg), a theologian, who ten years prior had convinced the knight to leave his wife and join a crusade to the Holy Land. The squire promises to brand the theologian on the face if they meet again. The servant girl joins the squire. The trio ride into town, where the actors met earlier are performing. Skat the actor-manager introduces the other actors to the crowd, then is enticed by Lisa (Inga Gill)—wife of the sentimental and violent blacksmith Plog—away for a tryst. They run off together. The actors' performance is interrupted by the arrival of a procession of flagellants.

At the town's public house, Plog—jealous and wounded—is looking for Lisa. Both Jof and the manipulative Raval are also present: for the sake of mischief, Raval tells Plog that Jof knows what Lisa is doing. Raval manipulates Plog and the other customers into intimidating Jof, and forces Jof to dance on the tables like a bear. The bullying is broken up by the appearance of Jöns, who once again recognises Raval: true to his word, he slashes and permanently scars the theologian's face. Both knight and squire are reacquainted with Jof's family, with a repentant Plog also joining them. The knight enjoys a country picnic of milk and wild strawberries gathered by Mia. The knight says: "I'll carry this memory between my hands as if it were a bowl filled to the brim with fresh milk...And it will be an adequate sign—it will be enough for me."

Moved by the simple love of Jof and Mia, Block relaxes his pursuit of religious meaning. He invites Plog and the actors to shelter in his castle, where he believes they will be safer from the plague. Along the way, the party encounters Skat and Lisa in the forest. Dissatisfied with her new lover (and well aware that her husband will quickly forgive her), Lisa abandons Skat and returns to Plog, while Skat uses his acting skills—and possibly Jof's collusion—to fake a remorseful suicide. Once the group has moved on, Skat climbs a tree for the night. Appearing and informing the actor that his time is up, Death then cuts down the tree and kills him.

The travellers pass the condemned young woman again, now tied to a stake and awaiting burning. Block asks the woman again to summon Satan, so he can ask him about God. The girl claims already to have done so, but the knight cannot see him, only her terror. As her execution fire is lit, the knight gives her herbs to take away her pain. Jöns and Block watch, grimly, as her sentence is carried out.

Further along in the journey, Raval reappears: dying of the plague, he pleads for water. The servant girl attempts to bring him some, but Jöns stops her, and Raval dies alone and uncomforted. Jof tells his wife that he can see the knight playing chess with Death, and decides to flee with his family while Death is preoccupied.

After hearing Death state "No one escapes me", Block knocks the chess pieces over, deliberately distracting Death while Jof's family slips away. Death places the pieces back on the board, then wins the game on the next move. He announces that when they meet again, the knight's time—and that of all those traveling with him—will be up. Before departing, Death asks if the knight has accomplished his one "meaningful deed" yet; Block replies that he has.

Block is reunited with his wife, Karin (Inga Landgré), the sole occupant of his castle (all the servants having fled). The party shares one "last supper" before Death comes for them. The knight prays to God, "Have mercy on us, because we are small and frightened and ignorant." The mute servant girl speaks her only line: "It is finished."

Meanwhile, away from the castle, Jof's family sits out a storm which the juggler interprets to be "the Angel of Death... and he's very big". The next morning, the juggler, with his second sight, sees the knight and his followers being led away over the hills in a solemn Dance of Death.

Bergman originally wrote the play Trämålning (Wood Painting) in 1953 / 1954 for the acting students of Malmö City Theatre. The first time it was performed in public was in radio in 1954, directed by Bergman. He also directed it on stage in Malmö the next spring, and in the autumn it was staged in Stockholm, directed by Bengt Ekerot who would later play the character Death in the film version.

In his autobiography, The Magic Lantern, Bergman wrote that "Wood Painting gradually became The Seventh Seal, an uneven film which lies close to my heart, because it was made under difficult circumstances in a surge of vitality and delight." The script for the Seventh Seal was commenced while Bergman was in the Karolinska Hospital in Stockholm recovering from a stomach complaint. It was at first rejected and Bergman was given the go-ahead for the project from Carl-Anders Dymling at Svensk Filmindustri only after the success at Cannes of Smiles of a Summer Night Bergman rewrote the script five times and was given a schedule of only thirty-five days and a budget of $150,000. It was to be the seventeenth film he had directed.

All scenes except two were shot in or around the Filmstaden studios in Solna. The exceptions were the famous opening scene with Death and the Knight playing chess by the sea and the ending with the dance of death, which were both shot at Hovs Hallar, a rocky, precipitous beach area in north-western Scania.

In the Magic Lantern autobiography Bergman writes of the film's iconic penultimate shot: "The image of the Dance of Death beneath the dark cloud was achieved at hectic speed because most of the actors had finished for the day. Assistants, electricians, and a make-up man and about two summer visitors, who never knew what it was all about, had to dress up in the costumes of those condemned to death. A camera with no sound was set up and the picture shot before the cloud dissolved."

With regard to the relevancy of historical accuracy to a film that is heavily metaphorical and allegorical, John Aberth, writing in A Knight at the Movies, holds

the film only partially succeeds in conveying the period atmosphere and thought world of the fourteenth century. Bergman would probably counter that it was never his intention to make an historical or period film. As it was written in a program note that accompanied the movie's premier "It is a modern poem presented with medieval material that has been very freely handled...The script in particular—embodies a mid-twentieth century existentialist angst....Still, to be fair to Bergman, one must allow him his artistic license, and the script's modernisms may be justified as giving the movie's medieval theme a compelling and urgent contemporary relevance...Yet the film succeeds to a large degree because it is set in the Middle Ages, a time that can seem both very remote and very immediate to us living in the modern world....Ultimately The Seventh Seal<