Featured Audience Ratings

• Bob S

  
  Ingmar Bergman, 1918-2007

• Josh M

  
  Wild Strawberries is the quintessential Bergman film, touches on most of his favorite themes and becomes more rewarding and profound upon further viewings as one gets older. It's an intellectual, less schmaltzy European version of 'It's a Wonderful Life'. The… More
  Wild Strawberries is the quintessential Bergman film, touches on most of his favorite themes and becomes more rewarding and profound upon further viewings as one gets older. It's an intellectual, less schmaltzy European version of 'It's a Wonderful Life'. The film is the odyssey of a rather cold, cerebral and elderly highly respected professor Isak Borg (Victor Sjostrom) as he goes on the road with his sensitive and prickly daughter in law to receive an out of town honor. Along the way, they visit Borg's even older and even colder 90 something mother. Don't give up. The film initially seems to meander aimlessly. Numerous apparently unrelated events unfold, including a submersion into Borg's past memories, picking up a trio of young and naive hitchhikers, the rather prickly exchanges with the mother, an encounter with a bitter and unpleasant middle aged couple that have had a car crash, and various dark revelations by Marianne the daughter in law about her teetering marriage to Borg's difficult son, who has inherited his father's cold and isolating tendencies. By the end, the film presents a unified whole of a man coming to terms with his life and taking down the high walls from others with which he has isolated himself. He forgives himself for his choices and his treatment of others, and is able to not only reconcile but express love for his pregnant daughter in law, the sensual and expressive Marianne, played by iconic Swedish beauty Ingrid Thulin. Look also for Bergman's favorite screen performer Max Von Sydow in a cameo performance as a small town gas station owner who reminds Borg of the good he has done in his life. He shows some range as he is convincing as a simple goodhearted working man, a contrast from his usual high minded, tortured intellectual characters. The crisp and gorgeous black and white photography of Bergman's early collaborator Gunnar Fischer presents the story not in gritty documentary style, but in picturesque, highly contrasting stylized compositions. This is appropriate to the memories and elegiac retrospective of Borg's life. Rarely cited as a Bergman favorite due to it's rambling nature, quiet introspection and the subtlety of its revelations, it may be his best film. It's certainly his gentlest.

• Chris W

  
  I absolutely loved the other two Bergman films I've seen, and this one has a reputation for being one of his absolute best, but in all honesty, I really just couldn't get into this. Granted, I did like it enough to give it a small recommendation, but this is seriously… More
  I absolutely loved the other two Bergman films I've seen, and this one has a reputation for being one of his absolute best, but in all honesty, I really just couldn't get into this. Granted, I did like it enough to give it a small recommendation, but this is seriously overrated and not the work of genius it's touted as being. Maybe I'm just tired of this sort of thing. Maybe I'm not as much into heady pretentious art cinema as I let on, or maybe, I'm in the right and everyone else has their blinders on? Moving on, the plot follows a lonely 78 year-old widower professor who takes a long car ride to accept and honorary degree from his old university. Along the way, he meets some colorful characters, and, through a series of (often trippy and surreal) dreams, nightmares, and flashbacks, is forced to confront his troubled past, come to terms with how his life has ended up, and hopefully find some redemption before ceasing to be. I do like movies like this that deal with journeys of discovery, and road movies, but for some reason, even though I liked The Virgin Spring, and The Seventh Seal, I just had a really hard time getting into this and caring as much as I should. It's slow, a little too boring at times, and rather hard to distinguish when the film isn't depicting reality. I'm recommending it though, because it looks absolutely gorgeous in crisp black and white, the images and dream/nightmare sequences are tremendously stunning to look at, and the film does have some good performances. Like I said though, it's a bit hard to care at times, and it baffles me as to why this film is as lauded as it is. I mean, yeah, I get the style and great strengths at work, and the themes are good ones, but the main character is hard to relate to, and I feel like the film relies too much on the style to propel things. All in all, yes, an important film, and a good one, but far from being the stellar absolute masterpiece that basically everyone but me and maybe a few others think it is. If you're wanting to get into the history of Euro art house cinema, then this is a required stop, and if you like heavy philosophical films then you might want to see this as well, However, don't expect it to be an easy watch, or something that, due to it's influence, doesn't have the impact and originality that it once did.

• Dan S

  
  Another absolute gem of a film from the great Ingmar Bergman, who this time takes a look at creeping death and how it starts to hit an accomplished medical professor (Victor Sjstrm) as he begins to accept the fact that the end of his life is near. While Bergman certainly takes his… More
  Another absolute gem of a film from the great Ingmar Bergman, who this time takes a look at creeping death and how it starts to hit an accomplished medical professor (Victor Sjstrm) as he begins to accept the fact that the end of his life is near. While Bergman certainly takes his time, the images he puts on screen are downright stifling and arresting, with superb dialogue to ease the story along. Sjstrm is magnificent in the lead role, and the film has a great sense of mystery and subtle horror to it that I for one was fascinated during the entire duration of it. The ending is also unexpected, which is a pleasant surprise, seeing I could totally see Bergman go for the ultra-depressing route, which isn't the case here.

• Melvin W

  
  Wild Strawberries is a spin on Charles Dickens story, A Christmas Carol. Isak, who as a young man was described as a sensitive and nice person, now as an old man is described by his daughter-in-law as, "Tough as nails." He begins to realize through dreams and the people… More
  Wild Strawberries is a spin on Charles Dickens story, A Christmas Carol. Isak, who as a young man was described as a sensitive and nice person, now as an old man is described by his daughter-in-law as, "Tough as nails." He begins to realize through dreams and the people around him that he has let his work corrupt him and make him selfish and greedy. Sounds a lot like Scrooge. He struggles with this realization and begins to make changes in his demeanor and how he acts. Ingmar Bergman is considered one of the best directors ever and for good reason. With Wild Strawberries he shows just how good why he is, with his always present techniques such as symbolism, which is always a huge part of his films.

• Devon B

  
  78 year old Dr. Isak Borg is receiving an honorary degree at Lund cathedral tomorrow, as he himself explains in the opening scene of "Wild Strawberries", a film by Ingmar Bergman. In the very same scene, he also claims "in our relations with other people we mainly… More
  78 year old Dr. Isak Borg is receiving an honorary degree at Lund cathedral tomorrow, as he himself explains in the opening scene of "Wild Strawberries", a film by Ingmar Bergman. In the very same scene, he also claims "in our relations with other people we mainly discuss and evaluate their character and behavior, this is why I have withdrawn from nearly all so-called relations. This has made my old age rather lonely". It also doesn't help his isolation that he's a self-described "pedant". Rather than fly to Lund with his surly house keeper (and quite possibly, only friend), he chooses to drive the 14 hour trip with his daughter-in-law, a bluntly open woman who regards her "uncle" (as she calls him) as something of a fraud: a man whose benevolent exterior hides a selfish and ruthless old man. But why is Dr. Borg so cold and distant? As the film progresses, the doctor's past is revealed in a series of dreams and memories (and the line where one begins and the other ends is often blurred). The events that went into creating the loneliness of Dr. Borg's life are pulled back like the pedals of a flower. When confronted with the looming shadow of death, Dr. Borg doesn't recall his lifetime of dedication to humanitarian work but instead re-lives the longlost loves and regrets of his youth. When his brother stole his betrothed away, the first instance that really toughened up the naive young Isak. All of Dr. Borg's flashbacks and hallucinatory dreams are voyeuristic in nature. He calls out to his one-time fiance Sara, only to watch in silence the moment when, while picking wild strawberries, she's swept off her feet by his ne'er-do-well brother. Maybe it's all psychological, in that it comes from one of his most deep-seated humiliations at the hands of his wife, dead for nearly 20 years. Or maybe it's just part of his lineage, as it is with his 96 year old mother, who's only purpose in life is to deny her great grandchildren their inheritance by staying alive, and his son Evald, who hates his life so much his only desire in life is a quick death. Bergman fleshes out the life of Dr. Isak Borg while at the same time bringing us more intimately closer to the universal fear of death. How do we live our lives and what regrets linger long after the people we love have turned to dust? Wild Strawberries is somehow both haunting and warm; in the end, we can find comfort in ourselves if our happy memories out-number our bad.

• Randy T

  
  An aging physician relives the defining events and turning points of his life through a series of dreams and flashbacks. Bergman's masterpiece, one of many, is unambiguous and universally identifiable.

• danny d

  
  predictable bergman in style and temprement, while this film was slow it was probably the most interested ive been in a bergman film. not quite as epic as seventh seal but maybe more profound, this classic is simple but engaging. a classic and worth while film.

• Cassandra M

  
  Quite simply one of the very, very best movies I have ever seen. Saw it recently for the second time, some 5 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
  Quite simply one of the very, very best movies I have ever seen. Saw it recently for the second time, some 5 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.

• Anthony L

  
  Classic Bergman, reflecting on regret, loneliness and one's mortality. It's beautifully filmed, perfectly paced, wonderfully scripted and is one of the greatest 'Road trip' movies ever!

• Luke B

  
  Anyone who has ever felt a tinge of nostalgia or has sat down to reminisce will take something from this classic. Upbeat, hypnotic and simply beautiful Bergman utilises dream sequences as not only a symbolic device but also to represent memory, the past and the opinions of others. The… More
  Anyone who has ever felt a tinge of nostalgia or has sat down to reminisce will take something from this classic. Upbeat, hypnotic and simply beautiful Bergman utilises dream sequences as not only a symbolic device but also to represent memory, the past and the opinions of others. The tale of a simple road trip is transformed into the Odyssey of the mind for one older gentleman and like Bergman's fellow master Kurosawa it presents all those fears and regrets of growing old as well as celebrating a well lived life. Don't let the "art house" tag put you off it's a tale most people will be able to relate to.

• Pierluigi P

  
  Bergman constructs an intimate, cathartic, sad but hopeful examination of an old timer's last trip to redemption. moving and thought-provoking.

• Ken S

  
  over rated

• Michael G

  
  Beautiful.

• Dillon L

  
  After watching this movie I sat there, contemplating for a long time about what I had just seen. This is a well written, rare movie with existential subject matter as well as fine performances. One of the greatest films I have seen.

• John B

  
  Another masterpiece from Bergman with strong effectively laid out themes about aging and remembering past events.

• Panta O

  
  A story about Doctor Isak Borg (Victor Sjostrom) who struggles to find meaning to his life while facing the prospect of death is a moving one. Superbly written and directed by Ingmar Bergman, we all follow the doctor on a journey where he will be honoured for the fiftieth anniversary… More
  A story about Doctor Isak Borg (Victor Sjostrom) who struggles to find meaning to his life while facing the prospect of death is a moving one. Superbly written and directed by Ingmar Bergman, we all follow the doctor on a journey where he will be honoured for the fiftieth anniversary of receiving his degree. We find out through the real directing poetry, that for Doctor Borg, this journey is from life to death while he travels besieged by memories. The original Swedish title is Smultronstället, which literally means "the wild strawberry patch", but idiomatically means an underrated gem of a place (often with personal or sentimental value) - and that is a perfect title for this classical work of art. . I watched it few times, since I was 13 and always managed to find something new in it... but Victor Sjöström's acting wasn't new... it was seen and perfect together with my favourite Ingrid Thulin. Bergman's immediate choice for the leading role of the old professor was Victor Sjöström (Bergman's silent film idol) and they both did a great job working together while Ingrid Thulin plays Marianne, the sad gentle and warm daughter-in-law of Borg. The interesting thing is that Bergman wrote the screenplay of Wild Strawberries in Stockholm's Karolinska Hospital (the workplace of Isak Borg). This is one of the greatest films ever, if you ask me! It won the Golden Bear for Best Film at the 8th Berlin International Film Festival, "Best Film" and "Best Actor" at the Mar del Plata Film Festival and won the Golden Globe for Best Foreign Film in 1960. It was also nominated for an Academy Award for Original Screenplay. The film is included on the Vatican Best Films List, recommended for its portrayal of a man's "interior journey from pangs of regret and anxiety to a refreshing sense of peace and reconciliation". In a 1963 interview with Cinema magazine Stanley Kubrick listed the film as his second favourite of all time. It should be on everyone's "must see" list!

• Bryce I

  
  As powerful and haunting, as it is genuine and beautiful. Ingmar Bergman films were, and still remain poetry for the screen. And Wild Strawberries is no different. It is my favorite Bergman film without question thanks to it's warm premise, thought-out techniques with the camera,… More
  As powerful and haunting, as it is genuine and beautiful. Ingmar Bergman films were, and still remain poetry for the screen. And Wild Strawberries is no different. It is my favorite Bergman film without question thanks to it's warm premise, thought-out techniques with the camera, and heartfelt performances. Specifically Victor Sjostrom's mere brilliance as the true protagonist. Bergman's films are some of the hardest to critique mainly because... it is art. Nothing less and nothing more. And though the film does not display the true moral that it is presenting, maybe that is why it is such a landmark of film making. Maybe we need more than one viewing to figure it out.

• Daniel D

  
  Even though Bergmans Wild Strawberries had a "happy" ending, it was one that brought out pity. Just deep pity, sorrow, and curiosity about our protagonist. The protagonist is an old man by the name of Isak. He is going on a car ride back home to get an honorary award. With… More
  Even though Bergmans Wild Strawberries had a "happy" ending, it was one that brought out pity. Just deep pity, sorrow, and curiosity about our protagonist. The protagonist is an old man by the name of Isak. He is going on a car ride back home to get an honorary award. With him his judgmental daughter-in-law and young hitchhikers caught in a love triangle. While 90% of the film was in the car ride only 50% of that was Isak actively in the car. We had many flashbacks and strange dreams which brought out David Lynches "Eraserhead" type of feeling out. The directing was almost perfect except I believe the camera work for the car crash scene was a tad off, making it confusing. It's still a good Ingmar Bergman film that I enjoyed. On the other I can't call it his best like many do, it was miles deep in some of the greatest foreign films ever but an equal amount of miles away from reaching Persona.

• Anthony L

  
  Before watching this film, I didn't know what Bergman's style of direction was. After watching this and The Seventh Seal, I have concluded that he has a very dark and mysterious direction style. Putting that aside, Wild Strawberries is a great film that questions the… More
  Before watching this film, I didn't know what Bergman's style of direction was. After watching this and The Seventh Seal, I have concluded that he has a very dark and mysterious direction style. Putting that aside, Wild Strawberries is a great film that questions the mysteries of life, the script is great and the direction from Ingmar Bergman is great. Overall, this is a dark, deep and interesting film. Favorite Scene: All of Borg's dream/ flashbacks

Read all 20 featured audience ratings