Wild Strawberries (1957) 1080p YIFY Movie

Wild Strawberries (1957) 1080p

Smultronst?llet is a movie starring Victor Sj?str?m, Bibi Andersson, and Ingrid Thulin. After living a life marked by coldness, an aging professor is forced to confront the emptiness of his existence.

IMDB: 8.22 Likes

  • Genre: Drama | Romance
  • Quality: 1080p
  • Size: 1.45G
  • Resolution: 1920*1080 / 23.976 fpsfps
  • Language: English
  • Run Time: 91
  • IMDB Rating: 8.2/10 
  • MPR: Normal
  • Peers/Seeds: 4 / 21

The Synopsis for Wild Strawberries (1957) 1080p

With the exception of his elderly housekeeper Miss Agda who he treats almost like a surrogate platonic wife, widowed seventy-eight year old Dr. Isak Borg, a former medical doctor and professor, has retreated from any human contact, partly his own want but partly the decision of others who do not want to spend time with him because of his cold demeanor. He is traveling from his home in Stockholm to Lund to accept an honorary degree. Instead of flying as was the original plan, he decides to take the day long drive instead. Along for the ride is his daughter-in-law Marianne, who had been staying with him for the month but has now decided to go home. The many stops and encounters along the way make him reminisce about various parts of his life. Those stops which make him reminisce directly are at his childhood summer home, at the home of his equally emotionally cold mother, and at a gas station where the attendants praise him as a man for his work. But the lives of other people they ...


The Director and Players for Wild Strawberries (1957) 1080p

[Director]Ingmar Bergman
[Role:]Victor Sj?str?m
[Role:]Gunnar Bj?rnstrand
[Role:]Ingrid Thulin
[Role:]Bibi Andersson


The Reviews for Wild Strawberries (1957) 1080p


When film was an art formReviewed byDeeNine-2Vote: 10/10

In this symbolic tale of an old man's journey from emotional isolation to a kind of personal renaissance, Ingmar Bergman explores in part his own past, and in doing so rewards us all with a tale of redemption and love.

Victor Sjostrom, then 80 years old, stars as Professor Isak Borg whose self-indulgent cynicism has left him isolated from others. Sjostrom, whose work goes back to the very beginning of the Swedish cinema in the silent film era, both as an actor and as a director, gives a brilliant and compelling performance. All the action of the film takes place in a single day with flashbacks and dream sequences to Borg's past as Borg wakes and goes on a journey to receive a "Jubilee Doctor" degree from the University of Lund. Bergman wrote that the idea for the film came upon him when he asked the question, "What if I could suddenly walk into my childhood?" He then imagined a film "about suddenly opening a door, emerging in reality, then turning a corner and entering another period of one's existence, and all the time the past is going on, alive."

Bibi Andersson plays both the Sara from Borg's childhood, the cousin he was to marry, and the hitchhiker Sara who with her two companions befriends him with warmth and affection. The key scene is when the ancient Borg in dreamscape comes upon the Sara of his childhood out gathering wild strawberries. Borg looks on (unnoticed of course) as his brother, the young Sigfrid, ravishes her with a kiss which she returns passionately; and, as the wild strawberries fall from her bowl onto her apron, staining it red, Borg experiences the pain of infidelity and heartbreak once again. Note that in English we speak of losing one's "cherry"; here the strawberries symbolize emotionally much the same thing for Sara. Later on in the film as the redemption comes, the present day Sara calls out to Borg that it is he that she really loves, always and forever. Borg waves her away from the balcony, yet we are greatly moved by her love, and we know how touched he is.

The two young men accompanying Sara can be seen as reincarnations of the serious and careful Isak Borg and the more carefree and daring Sigfrid. It is as though his life has returned to him as a theater in which the characters resemble those of his past; yet we are not clear in realizing whether the resemblance properly belongs in the old man's mind or is a synchronicity of time returned.

Memorable is Ingrid Thulin who plays Mariana, the wife of Borg's son who accompanies him on the auto trip to Lund. She begins with frank bitterness toward the old man but ends with love for him; and again we are emotionally moved at the transformation. What Bergman does so very well in this film is to make us experience forgiveness and the transformation of the human spirit from the negative emotions of jealousy and a cold indifference that is close to hate, to the redemption that comes with love and a renewal of the human spirit. In quiet agreement with this, but with the edge of realism fully intact, is the scene near the end when Borg asks his long time housekeeper and cook if they might not call one another by their first names. She responses that even at her age, a woman has her reputation to consider. Such a gentle comeuppance meshes well with, and serves as a foil for, all that has gone on before on this magical day in an old man's life.

See this for Bergman who was just then realizing his genius (The Seventh Seal was produced immediately before this film) and for Sjostrom who had the rare opportunity to return to film as an actor in a leading role many decades past him prime, and made the most of it with a flawless performance, his last major performance as he was to die three years later.

(Note: Over 500 of my movie reviews are now available in my book "Cut to the Chaise Lounge or I Can't Believe I Swallowed the Remote!" Get it at Amazon!)

A magnificent filmReviewed byapmahdVote: 10/10

In "Smultronstallet", the elderly professor Isak Borg, on his way to receive an honorary degree, uses the journey to discover and understand himself and the effect he has had on others. The action converts past and present, reality and fantasy, the present harshly and starkly lit, the earlier memories more relaxed and lyrical as if, for an old man, the past - that other country - was better than the time and place he inhabits now. Each new character, each reminiscence as it springs up in the mind of professor reveals something new about him - his failings, his shortcomings, the reasons why, in his apparently successful and honored old age, he is alone and lonely. This is, admittedly, an uneven film, verbally over explicit, but it is packed with vivid imagery - an early dream sequence, both mysterious and yet significant; a disenchanted couple squabbling fiercely in a car; the sad beauty of Marianne, unhappy daughter-in-law; the words, memories and gestures of professor's mother; the distancing effect produced by the device of having the professor visiting his own past unseen by those who shared it with him; the meeting with Akerman. It is a sombre, striking work, uncompromising in its examination of the protagonist and Victor Sjostrom, in his last screen role, is splendid. For me, this film is the proof for to believe Ingmar Bergman the best best European director of the last century.

One of the most beautiful filmsReviewed byjameskinsmanVote: 10/10

Ostensibly simple on first analysis, Wild Strawberries, alongside the work of Bresson, Dreyers Le Passion De Jeanne D'Arc and Murnau's Sunrise, is one of those very special, transcendent assets of cinema able to inspire us in a deep and spiritual way. Bergman's achievement to tell a heartfelt story with a very human message juxtaposed with image after image of stunning beauty is something so rare and so very remarkable. I wont go into a deep analysis of this beautiful masterpiece, as many other users on here have done so. All I will do is simply describe one of the films most lyrically sublime scenes.

Near the end of the film, as Isak Borg lies in bed, his son asks him how his heart is (meaning his physical health). Being a doctor of considerable talent and having a tradition of being practical and sensible in his work, you would expect him to tell his son of his failing health. However after his subsequent journey, both physical and spiritual, his attentions are now turned toward his emotional and spiritual well being, a part of himself he has neglected for many years. He simply replies that his heart is fine, and that he is happy and content. In this single moment, we understand that Isak has reached a moment of catharsis, but it also tells us something about every one of us. We strive constantly for physical wealth and materialistic products of our lives and jobs, but we must remember the simple but extremely rewarding pleasures that determine the happiest of individuals.

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