Starring-Victor Sjostrom, Bibi Andersson
Scott’s Review #1,111
Reviewed February 10, 2021
A seventy-eight-year-old man (Victor Sjostrom) reflects on life, loss, and a million other emotions as he ponders his inevitable death in the Ingmar Bergman masterpiece Wild Strawberries (1957). The film has a melancholy tone and forces the viewer to put themselves in the shoes of the old man and wonder how senior citizens view death. One great point is it represents the geriatric demographic, which has traditionally been sorely lacking in cinema.
It’s cerebral and reminds me in a peculiar way of A Christmas Carol in the way an old man ruminates over his forgotten and sometimes misbegotten youth.
Bergman creates genius on par with his most famous work The Seventh Seal also released in 1957. I’d list these two films as his very best and most inspiring.
Do older people fear death? Do they whimsically revisit their youth from time to time or do they live with regret and unfulfilled desire? My hunch is that it’s probably a bit of all. Wild Strawberries made me think like the old man and the effect was powerful, making me worry and fear my own death and relive my glory days.
Isak Borg (Sjostrom) begins to reflect on his life after he decides to take a road trip from his home in Stockholm to the distant town of Lund to receive a special award. Along the way, a string of encounters causes him to experience hallucinations that expose his insecurities and fears. He realizes that the choices he’s made have rendered his life meaningless, or so he perceives it.
He is accompanied by his daughter-in-law Marianne (Ingrid Thulin) who doesn’t like Isak too much, is pregnant, and plans to leave her husband. They meet a trio of friendly hitchhikers led by Sara (Bibi Andersson) who reminds Isak of the love of his youth. A bickering couple reminds him of his unhappy marriage, while his elderly mother reminds him of himself.
The best part of the film is when the group stops at Isak’s childhood seaside home and imagines his sweetheart Sara, with whom he remembered gathering strawberries, but who instead married his brother. Anyone who has returned to their own childhood home or neighborhood can easily relate to the powerful memories that are served. I pretended I was in Isak’s character and several emotions occurred.
Sjostrom is incredibly good and infuses a natural range of emotions. At first crotchety and distant I grew to admire his sentimentality as he fondly recalls innocently picking strawberries on a summer day. How glorious and innocent to reminisce in an act so mundane yet monumental. An old man, he was once young. How quickly the years go by. I took this as a lesson to appreciate each day and experience. Sjostrom had me mesmerized.
Some find Izak unsympathetic but I disagree. I found him incredibly likable.
Relationships are a strong element of Wild Strawberries. Izak muses over past loves, but also his mother, daughter-in-law, housekeeper, and hitchhikers. Peculiar is his relationship with his housekeeper, Agda, played stunningly well by Julian Kindahl. Are they secret lovers or platonic friends? They seem like husband and wife.
While the story is astounding, the visual qualities of Wild Strawberries are amazing. For starters, the video content is crisp and clear with very bright black and white photography. Each shot is mesmerizing and reminiscent of paintings.
To that end, there is so much going on in Wild Strawberries if one looks closely enough. The closest adjectives to describe the experience are hallucinogenic and mesmerizing. The group of people gathered over a meal was young, fresh, and carefree. They all have a life ahead of them and almost every viewer can recount a time where he or she felt that way. It’s both nostalgic and sad to realize it doesn’t last as Bergman makes so painfully evident.
The scene where Isak witnesses a hearse approaching is terrifying. When he realizes it is himself lying in the casket it’s enough to give one a chill. It’s creepy and powerful in tone and affects.
Wild Strawberries (1957) possesses many facets of the human experience. Sorrow, joy, depression, acceptance, frustration, and fulfillment. This is a work of genius and is highly recommended to anyone who appreciates great experiences in cinema.
Oscar Nominations: Best Original Screenplay