The story was adapted by screenwriter Ulla Isaksson from a 13th-century Swedish ballad, "Töres döttrar i Wänge" ("Töre's daughters in Vänge").

Isaksson and Bergman explored a number of themes in The Virgin Spring, questioning morals, vengeance, and religious beliefs.

In medieval Sweden, prosperous Christian Per Töre sends his daughter, Karin, to take candles to the church, a day's journey away.

A variety of themes explored in the film include Christianity, Paganism, Norse mythology, feelings of guilt, vengeance, the questioning of religious faith and sexual innocence.

Much of the religious themes centre on conflict between paganism and Christianity, recalling the misery Sweden experienced as the two religions struggled for predominance.

The Bridge-Keeper is given the attributes of Odin; keeping a pet raven, lacking an eye and a high seat with seemingly ocular powers alluding to the Hlidskjalf of Norse Mythology.

[4] Töre, played by Max von Sydow, loses his Christian values to commit the act of revenge, and offers to build a church as penance.

[5] Gervais commented on how it compared to William Shakespeare's Macbeth in its themes of "embracing the dark forces, succumbing to evil, and being overwhelmed by conscience".

[3] Ingeri uses it to wash her head, which she used to plan the spell, and her eyes, which she used to watch the rape, and drinks the water, symbolizing absolution.

[11] Director Ingmar Bergman first read about the legend of Per Töre, who had seven daughters who fell victim to seven rapists, as a student, and felt it was ideal for adaptation.

He had proposed it as a ballet for the Royal Swedish Opera or as a play, but decided a film would be most suitable while making Wild Strawberries.

Isaksson had written a novel set in medieval times and was acclaimed for its realism, which Bergman felt might prevent repeat of some criticisms of his 1957 film The Seventh Seal.

[12] In writing the screenplay, Isaksson was most interested in exploring conflicts between Christianity and paganism, while Bergman wanted to dissect guilt.

[18] Although SF Studios accountants previously often faulted Bergman films as unprofitable, they acknowledged The Virgin Spring was a success.

[20] In the United States, The Virgin Spring opened in New York City on 14 November 1960, censored to remove shots taken of Karin's naked legs around the body of the rapist.

In a 1960 review, Bosley Crowther wrote, "Mr. Bergman has stocked it with scenes of brutality that, for sheer unrestrained realism, may leave one sickened and stunned.

[28] In 2011, author Alexandra Heller-Nicholas wrote The Virgin Spring gave "a relatively auspicious heritage" to rape and revenge films, and was "an art classic" with "sumptuous black and white cinematography", and that the reuse of the story in The Last House on the Left (1972) indicated "remarkable longevity" for the plot.

[30] Leonard Maltin, giving The Virgin Spring three stars in his 2013 Movie Guide and calling it "Fascinating, beautifully made", felt it was more proper to say The Last House on the Left "ripped off" Bergman's film than remade it.