The Virgin Spring () is a 1960 Swedish rape and revenge film directed by Ingmar Bergman. Set in medieval Sweden, it is a tale about a father's merciless response to the rape and murder of his young daughter. The story was adapted by screenwriter Ulla Isaksson from a 13th-century Swedish ballad, "Töres döttrar i Wänge" ("Töre's daughters in Vänge"). Bergman researched the legend of Per Töre with an eye to an adaptation, considering an opera before deciding on a film version. Given criticism of the historical accuracy of his 1957 film The Seventh Seal, he also invited Isaksson to write the screenplay. Other influences included the 1950 Japanese film Rashomon. Max von Sydow played Töre. Isaksson and Bergman explored a number of themes in The Virgin Spring, questioning morals, vengeance, and religious beliefs. The rape scene was also subject to censorship in screenings in the United States. The film won the Academy Award for Best Foreign Language Film at the 1961 Academy Awards and other honours. It was also the basis for the 1972 exploitation horror film The Last House on the Left. Plot In medieval Sweden, prosperous Christian Per Töre sends his daughter, Karin, to take candles to the church, a day's journey away. Karin is accompanied by servant Ingeri, pregnant with an out-of-wedlock child, who secretly worships the Norse deity Odin. Along their way through the forest on horseback, Ingeri becomes frightened when they come to a stream-side mill and admonishes Karin, but Karin chooses to proceed on her own, leaving Ingeri at the mill. Ingeri encounters a one-eyed man at the stream-side mill. When Ingeri asks about his name he enigmatically responds he has none "in these days". The man tells Ingeri that he can see and hear things others can not. When the man makes sexual advances towards her and promises her power, Ingeri flees in terror. Meanwhile, Karin meets three herdsmen, two men and a boy, and invites them to eat her lunch with her. Eventually, the two older men rape and murder Karin. Ingeri, after having caught up to the group, witnesses the whole ordeal hidden from a distance. The two older men then prepare to leave the scene with Karin's clothing. The younger boy is left with the body, but he takes the situation poorly, and is wracked with guilt. He even tries to bury the body by sprinkling dirt but stops midway,