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Credit: BFI National Archive Appropriately, the first indelible impression that Max von Sydow made on world cinema saw him surrounded by jagged rocks while staring death in the face. Only in his late 20s when he starred in Ingmar Bergman’s The Seventh Seal (1956), he already gave the impression of a man who’d witnessed a lifetime of anguish, to the point that when actually confronted by Death (Bengt Ekerot), his gaunt, Crusades-weary knight Antonius Blok reacts with a disarmingly calm “Are you coming for me?” before challenging the white-faced spectre to a game of chess. Death finally claimed von Sydow on 8 March 2020, but only after he amassed a filmography that set him among the immortals. This would be true even if he’d never worked outside his native Sweden; indeed, even if he’d exclusively worked with Bergman we’d still have his mesmerist Albert Vogler in The Face (1958); distraught fathers dealing with different types of bereavement in Virgin Sprin

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