Film Review: Wild Strawberries (Smultronstället, 1957)

Swedish actor Victor Sjöström is considered a titan of Swedish and world cinema's silent era. There probably weren’t any better ways for his ride into the sunset than for his last role to be in a film that many consider the best in the filmography of another titan of Swedish and world cinema. That film was Wild Strawberries, a 1957 drama written and directed by Ingmar Bergman.

Sjöström plays the protagonist and narrator, Professor Isak Borg, a highly respected 78-year-old retired bacteriologist from Stockholm who is to be awarded an honorary doctorate at Lund University. He is widowed and has recently begun to ponder mortality, which is why, following a disturbing dream, he decides to travel to the ceremony by car instead of flying. He is rattled by this disturbing dream and decides to confront mortality while reminiscing about his past. Accompanied by his daughter-in-law Marianne (played by Ingrid Thulin), who has recently become estranged from Isak’s son Evald (played by Gunnar Björnstrand), he uses the longer trip as an opportunity to stop at the places where he spent his childhood and youth, beginning to reflect on his life. Along the way, he encounters various individuals, including young hitchhiker Sara (played by Bibi Andersson), who, together with two friends – Viktor (played by Björn Bjelfvenstam) and Anders (played by Folke Lundquist) – is travelling to Italy.

After the critical acclaim of The Seventh Seal, Bergman was expected to deliver another masterpiece with Wild Strawberries. He did not disappoint, winning prestigious awards such as the Golden Bear at the Berlin Film Festival and a Golden Globe for Best Foreign Film. The film's success solidified Bergman's reputation as one of the world's most revered directors.

Wild Strawberries surpasses its predecessor in many ways, boasting a more focused narrative that capitalises on the road trip setting. This modern-day context lends itself to natural and realistic dialogue, while Bergman cleverly incorporates elements of fantasy through Borg's dreams and visions. Bergman ingeniously casts the same actors in different roles – in present-day reality and flashback/fantasy scenes – and the effect is both surreal and natural. It is Sjöström’s narration that helps the audience avoid confusion. By blurring the lines between past and present, Bergman invites viewers to reflect on their own life choices and mortality.

Sjöström's performance as Isak Borg is undoubtedly the film's standout feature. His character’s vulnerability, regret, and ultimate reconciliation with his family and himself make for a compelling and emotionally resonant portrayal. Bergman pays homage to Sjöström's own silent classic The Phantom Carriage (1921) in one of the film's most memorable scenes.

Supporting cast members like Bibi Andersson and Ingrid Thulin deliver strong performances, while Bergman regulars such as Max von Sydow make cameo appearances. Despite the seemingly dated black-and-white cinematography by Gunnar Fischer and the lack of widescreen, the film remains visually appealing and easy to follow even for audiences today.

The relatively short running time of Wild Strawberries helps maintain momentum throughout the film, with even the flashback/fantasy scenes that might seem redundant not hampering the viewing experience. This concise narrative structure allows for a focused exploration of themes without dragging on or feeling tedious.

Wild Strawberries is a deserving classic of Swedish and world cinema. Bergman's masterful direction, combined with Sjöström's unforgettable performance, has secured the film's place as a landmark of mid-20th century cinema.

RATING: 8/10 (+++)

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