Wild Strawberries

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Wild Strawberries. Best Writing Original Screenplay.

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Academy Awards. Golden Bear. Berlin International Film Festival.

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      Wild Strawberries – Bergman i Skåne

      For details, visit: laemmle. Sjostrom, a revered Swedish actor and also an acclaimed director who helmed memorable silent films with American stars Lon Chaney and Lillian Gish during the s, capped his career with his moving performance as Professor Isak Borg, a distinguished physician who re-evaluates his life while driving from Stockholm to Lund to receive an honorary degree. On his journey he is haunted by memories and dreams that illuminate his inner life with trenchant insight. Wild Strawberries was one of the seminal films that changed cinematic grammar by introducing non-linear storytelling to discriminating audiences during the late s.

      The film I constantly go back to, however, is Wild Strawberries , which, while scarcely a bag of laughs, has a compassionate view of life that best illustrates the more optimistic side of Bergman's puzzled humanity. At its centre is year-old Professor Isak Borg, a distinguished medical scientist who travels from Stockholm to Lund with his daughter-in-law to receive an honorary doctorate.

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      On the mile car journey the old man remembers his past - the girl he loved who married his brother instead, and his own bitterly unsuccessful marriage. Despite his benevolent exterior, to which everyone pays tribute, he recognises in himself something arid and distant.

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      The film opens with a dream sequence that has been stolen from ever since. Borg arrives at a house with boarded up windows in the old quarter of Stockholm.

      Bringing the best of arthouse and festival cinema into focus

      He sees a clock with no hands and an old hearse approaching. One of its wheels gets caught up on a lamppost and a coffin falls out. The outstretched hand of the corpse within tries to pull Borg inside. There are other Expressionist and certainly Freudian dream sequences in the picture, almost always with the old man appearing in them as his present self.


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      And some of these, largely because so many have badly copied, now look a little self-conscious- arty even. But the film's ability to engage the emotions makes it notable for more than just technique. One of the prime reasons is what can only be described as the transcendent performance of Victor Sjostrom as Professor Borg. Sjostrom was the great Swedish silent-era director, who died aged 80, not long after the film was completed and whose The Phantom Carriage had so influenced Bergman.

      It was he who made the final scene one of the most serene of all Bergman's endings. His whole appearance was soft and gentle, his glance joyful and tender.

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