Wild Strawberries

Wild Strawberries

“Recently, I’ve had the weirdest dreams,” says the aged physician Isak to his daughter-in-law Marianne. His confession is an understatement. Isak’s dreams create the crises and categories for a film about legacy and death. Beginning with a Dali-esque vision—Gunnar Fischer’s magnificently shot chiaroscuro sequence for people who think David Lynch is too normal—and through flashback sequences, Isak’s dreams present the picture of a man obsessed with his age: the mistakes of youth and the mortality of his last days. 
 
Wild Strawberries is a road movie. It tells the story of the famous doctor driving to an award ceremony. Marianne travels with him and, along the way, they stumble across other sojourners. These pilgrims are both strangers and reincarnations for Isak, from the radiant Sara (a name shared with Isak’s lost love) to Sara’s suitors (fist fighting over the existence of God) to a quarrelling couple (the mid-life picture of love gone cold). In each stop and each stretch of road, Isak’s past reappears in a new form. Marianne, watching the old man face these ghosts, joins the audience in finding empathy, terror, and respect for Isak. 
 
Ingmar Bergman’s film combines Chaucer with Dickens. Yet Bergman’s use of allegory usually elevates rather than flatten characters. As such, the story’s heart remains with Isak and Marianne and how they, for all their inconsistencies and flaws, are real people. In some ways, this film shares lineage with the dysfunctional but warm world of Curtis Hanson’s “Wonder Boys” (2000), the tale of an aging professor and the young pilgrims who give him a new glimpse at life. In any case, Wild Strawberries signals the beginning of Bergman’s unequalled string of powerful, disarming, and provocative films exploring the soul in conflict.

  —Joseph J. P. Johnson

  1. Directed by: Ingmar Bergman
  2. Produced by: Allan Ekelund
  3. Written by: Ingmar Bergman
  4. Music by: Erik Nordgren Göte Lovén
  5. Cinematography by: Gunnar Fischer
  6. Editing by: Oscar Rosander
  7. Release Date: 1957
  8. Running Time: 91 min.
  9. Language: Swedish

Arts & Faith Lists:

2005 Top 100 — #41

2006 Top 100 — #32

2010 Top 100 — #35

2011 Top 100 — #29

Similar Posts

  • Beau Travail

    What is the relationship between military duty and human emotion? Clare Denis explores this dichotomy in her film Beau Travail, an adaption of the Herman Melville’s novel Billy Budd transported to post-colonial Africa.  Beau Travail tells the story of Galoup, an officer leading a troop of the French Foreign Legion in Djibouti, East Africa. He is a career military…

  • Vertigo

    From the first Arts & Faith Top 100 list in 2004, voters have wrestled with and disputed the meaning of “Spiritually Significant.” When discussing what makes a film spiritually significant, seemingly the only constant has been that it means something other that craftsmanship or artistry. Sight & Sound’s critics’ survey of the Top 100 Films of all…

  • Winter Light

    John Ford’s 1956 Western, The Searchers, ends with the camera framing a doorway, looking out into the gloriously filmed desert. As his remaining friends and family cross over the threshold into the welcoming house, John Wayne’s Ethan Edwards stays outside, watching them. Then he pauses a moment, turns, and walks off into the red dust. There’s…

  • 4 Months, 3 Weeks, and 2 Days

    In a key scene of Romanian writer–director Cristian Mungiu’s 4 Months, Gabita Dragut (Laura Vasiliu) and her college roommate and friend Otilia (Anamaria Marinca) agree never again to discuss the horrific events of that day. To draw a shroud of silence over certain overwhelming experiences is a natural impulse. We avert our eyes, like urban pedestrians…

  • The Phantom Carriage

    In The Phantom Carriage, director Victor Sjöström plays David Holm, a heartless unrepentant rascal who receives two summons one New Year’s midnight. The first is from a dying nun who showed him the most undeserved act of mercy he ever received; the second is from the phantom who drives Death’s titular carriage. As the film shows…