Quite simply one of the very, very best movies I have ever seen. Saw it recently for the second time, some 15 to 20 years after seeing it for the first time. First time round I was the age and stage of the traveling youngsters and saw the world through their eyes. This time I could identify more with the son and daughter-in-law characters with just as much conviction. The subtlety and sophistication of this movie defy description. It simply has to be seen to be believed. If you've never seen it, don't just sit there, go see the movie.
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
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
The Reviews for Wild Strawberries (1957) 1080p
One of the very, very bestReviewed byian_harrisVote: 10/10
Wild Strawberries, written and directed by Ingmar Bergman is an interesting film in the mere fact that it is difficult to predict the conclusion before film's end. Bergman's use of light and dark scenes to create a sense of the character and atmosphere is wonderfully achieved in this outstanding film of the late 1950s.
The opening scene of the movie provides the viewer an excellent synopsis of Dr. Isak Borg's life and family. The scene acquaints the viewer with his son, mother, house keeper, deceased wife and the doctor himself.
The first dream by Dr. Borg is dark and puzzling due mainly to its unclear meaning and uncanny nature. The street is deserted and clear. Dr. Borg approaches a clock and looks, but it is without hands. He looks at his pocket watch and it is also without hands. The black and white scene is subdued and calm, but draws the viewer in all the while guessing what's next. The scene is without music and progresses with the sound of a heart beat that quickens with each step taken as he walks along the desolate boulevard. When Dr. Borg approaches a man, the man turns and lacks a face. Shortly after, a cart-drawn casket passes and knocks its wheel off after colliding with a lamp post. The casket falls, opens, and a hand hangs exposed. Dr. Borg approaches the casket preparing to look inside when the hand reaches and clutches his hand. Surprised and frightened, he struggles to free the grip and soon recognizes that the face of the man in the casket is his own.
The movie was filled with Dr. Borg's puzzling dreams and remembrances of his early life, but much of the charm and warmth that is contained throughout the movie is owed to the secondary characters. Dr. Borg's daughter-in-law, Marianne is a delight to watch because she can smile like an angle and can be bluntly frank, all at the same time. Her stunning classic looks and assured mannerism helps the movie in a great way. Agda has lived with the doctor as his housekeeper for forty years. She and Dr. Borg hysterically argues as if man and wife. She knows the doctor well and understands him like the other people in his life do not. Sara, the young girl who wakes the doctor as he lay near the wild strawberries is a joy to watch. She shows the doctor new ways to look at the world by not taking anything too seriously. She takes in all that life has to offer and brings out the joy. Her slight touch to the doctor's face while they drove is one of the warmest scenes in the film and defines her loving character. There are many warm moments in the film, and many moments of darkness. The beginning of the film was dark, puzzling, and melancholy, and the end of the film was warm, bright and full of life and tenderness. The movie brought to mind, Charles Dickens' Scrooge, from A Christmas Carol. Although Professor Borg was not nearly as cold and unpleasant as Mr. Scrooge, he did however isolate and distance himself from his wife, friends, and family. His cruelty was hidden by his charm, but affected people quite similar to Mr. Scrooge's nasty mannerisms. On several occasions, in dreams and reality, Dr. Borg had to endure scrutiny from family members about his coldness. While driving to Lund, Marianne charmingly reminded him of his lack of warmth, love, and understanding and how she only knows him as a father-in-law. Marianne also lets on to Dr. Borg that his own son hates him; words that rang in the doctor's head. The doctor's dreams pointed out to him how he isolated the important parts of life and the people who cared for him. During one of Dr. Borg's dreams, he was taken by a teacher to see his dead wife. She was in a grassy field where she was making love to another man. Afterwards, she sat there talking to the man about her husband not caring, not giving her the attention she needed and how he would dismiss the entire event as his fault, but she says he does not mean any of it, because "he is cold as ice." Dr. Borg also became puzzled by a pocket watch that once belonged to his father. His mother showed him the watch and had wanted to give it to her grandson. The watch was missing the hands, just as the one in his dream. Throughout the movie, Dr. Borg let more and more of his old ways die and by the end of the day he was beginning to live and be happy. The crabby old coot that emerged at the beginning of the movie, softened and begin to see how happy he could be if he allowed himself. The Drive with the good people that Dr. Borg was fortunate to have accompany him, allowed him to experience the love and joy of others.
Although I'm not the biggest Ingmar Bergman fan, I have really enjoyed some of his movies--especially the one that are not so pessimistic. Although the underlying theme of this movie is aging and impending death, the movie is NOT all pessimism. If it had been, it would have lost my interest early on. Instead, I really enjoyed the film--particularly the fine acting by Victor Sj?str?m as Professor Borg.
The professor is well-respected for his work as a doctor. However, despite his success in his career, he is a failure in his personal relationships. His emotional baggage over the years has prevented him from allowing himself to be close to those he truly loves. This theme mirrors one of the subplots of Through a Glass Darkly, where a father is being destroyed inside by his daughter's mental illness but he CANNOT allow himself to show his anguish--choosing instead to hide in his room with his tears. It is interesting that the same man playing Borg's son (Gunnar Bj?rnstrand) plays the father only a few years later in Through a Glass Darkly.
Fortunately, unlike Through a Glass Darkly, there IS evidence that the professor is willing to change his persona, as he begins to open up more through the course of the movie. This appears to be assisted through extensive soul searching and dreams the professor has concerning his past and his own mortality--along with experiences he has during a long drive down the coast of Sweden. Because of this, even his extremely strained relationship with his son appears to hold some hope of improvement by the film's end. This hope for change lifts this movie above some Bergman films that only wallow in hopelessness.
FYI--The Criterion version of this DVD is nice due to its running commentary as well as the accompanying documentary. Get this version if you have the chance.
Also FYI--After watching many Bergman films and reading about his life, I detect quite a bit of autobiography in this film and his own stuggles with intimacy.