In the grand foyer of hell, Satan seethes with an eye irritation caused by the chastity of a priest's daughter up in the earthly realm. Seeking to correct this, he enlists his lecherous tenant, Don Juan, to seduce the young woman, teaming him with a sidekick to help move things along. A bittersweet farce built out of a ludicrous metaphysical scenario, The Devil’s Eye is Bergman’s least characteristic film on paper, and yet it’s one that is marked by a few of his signature concerns—romantic humiliation, the inability to connect, and the waning of youthful innocence in the face of adult pragmatism—and a fairy-tale-like buoyancy familiar at that point from Smiles of a Summer Night. As in that film, Bergman coaxes stellar work from director of photography Gunnar Fischer, who again makes use of vaguely expressionistic studio lighting to lend enriching undertones to Bergman’s already dynamic two shots.