Written and directed by Ingmar Bergman, “Wild Strawberries” is the famed Swede filmmaker’s twenty-fourth film and one of his most humanistic and compassionate. Isak Borg (Victor Sjöström), an esteemed medical scientist in Stockholm, is to be celebrated for his contributions to the field with an honorary degree in Lund. Accompanying Isak on the 400 mile road trip is his daughter-in-law Marianne (Ingrid Thulin). During the drive Isak is disturbed by several dreams which cause him to reexamine his past for better, or for worse. They stop occasionally to stretch their legs, check on old family vacation spots, and even to pick up a few hitchhikers.
In reviewing “Wild Strawberries” I tread on well worn pathways walked upon by generations of indie art kids, collegiate film fans, and those genuinely taken by the love that celluloid gives- but also every single hipster-trash-baby looking to be perceived as “Cool” by simply being aware of the works of Ingmar Bergman. So, I get it. Reviewing old films- especially old films that reside on a litany of lists and boxes waiting for the day it can be checked off or filled in, they can come with the baggage of appearing pretentious and reeking of seeking validation. Speaking of baggage, this whole film is essentially about just that. How does one reconcile with not just the existential issues of strangers, but of close family members, or even lovers? Not to mention the baggage that comes with simply being human?
Isak Borg, being the distinguished scientist in the medical field that he is, has become cynical over the years. His dreams force him to reexamine what was and what could have been, how his regrets and mistakes have forged who he is today. These dreams, or nightmares really, coerce the doctor to question how he treats others, to ask himself whether or not he has become calloused and cold-hearted. There are two groups of hitchhikers that inspire this reevaluation of the doctor’s life. One of these groups consists of a troupe of three college-aged youths, two men with quarreling ideologies and a woman, Sara (Bibi Andersson), that has both of their hearts in her hands- who coincidentally looks exactly like Isak’s lost love- who just so happened to marry his brother instead of him. The other pair of hitchhikers are a stubbornly vicious married couple that wreck their car nearly hitting Isak and company. After awhile the married couple become so absorbed by their contempt for each other with vitriol that Marianne pulls over and leaves them to be toxic on their own time. Both groups mirror parallels in Isak’s life and continue his assessment of self as the journey carries onward.
The other parallels of the film lie not only in Isak recognizing similar patterns in his past, but also in those closest to him. In the beginning of the trip Isak and Marianne visit Isak’s elderly mother for a few minutes, and after arriving in Lund nearing the end of the film, the pair meet up with Isak’s son and Marianne’s husband Evald (Gunnar Björnstrand). Isak recognizes this same aloofness and lonliness that plagues him in both of them. He gradually accepts who he is, connecting his past self with his present, and acknowledging his time left in this world. If you haven’t seen this film, I encourage you to give it a chance. There’s a reason the name Ingmar Bergman is still relevant in the world of cinema today.
Final Score: 5 Hitchhikers and a patch of Wild Strawberries