| Photos (See all 28 | slideshow) |
| Victor Sjöström | ... | Dr. Isak Borg | |
| Bibi Andersson | ... | Sara | |
| Ingrid Thulin | ... | Marianne Borg | |
| Gunnar Björnstrand | ... | Dr. Evald Borg | |
| Jullan Kindahl | ... | Agda | |
| Folke Sundquist | ... | Anders | |
| Björn Bjelfvenstam | ... | Viktor | |
| Naima Wifstrand | ... | Mrs. Borg, Isak's Mother | |
| Gunnel Broström | ... | Mrs. Alman | |
| Gertrud Fridh | ... | Karin Borg, Isak's wife | |
| Sif Ruud | ... | Aunt Olga | |
| Gunnar Sjöberg | ... | Sten Alman / The Examiner | |
| Max von Sydow | ... | Henrik Åkerman | |
| Åke Fridell | ... | Karin's lover | |
| Yngve Nordwall | ... | Uncle Aron | |
| Per Sjöstrand | ... | Sigfrid Borg | |
| Gio Petré | ... | Sigbritt Borg | |
| Gunnel Lindblom | ... | Charlotta Borg | |
| Maud Hansson | ... | Angelica Borg | |
| Ann-Marie Wiman | ... | Eva Åkerman | |
| Eva Norée | ... | Anna Borg | |
| Lena Bergman | ... | Kristina Borg, twin | |
| Monica Ehrling | ... | Birgitta Borg, twin | |
| rest of cast listed alphabetically: | |||
| Peder Hellman | ... | Sigbritt's Baby (uncredited) | |
| Ulf Johansson | ... | Mr. Borg - Isak's Father (uncredited) | |
| Wulff Lund | ... | (uncredited) | |
| Göran Lundquist | ... | Benjamin Borg (uncredited) | |
| Gunnar Olsson | ... | (uncredited) | |
| Vendela Rudbäck | ... | Elisabeth - Mrs. Borg's Housemaid (uncredited) | |
| Per Skogsberg | ... | Hagbart Borg (uncredited) | |
| Helge Wulff | ... | The Manager (uncredited) | |
Directed by | |||
| Ingmar Bergman | |||
Writing credits(in alphabetical order) | ||
| Ingmar Bergman | written by | |
Produced by | |||
| Allan Ekelund | .... | producer (uncredited) | |
Original Music by | |||
| Erik Nordgren | |||
| Göte Lovén | (uncredited) | ||
Cinematography by | |||
| Gunnar Fischer | |||
Film Editing by | |||
| Oscar Rosander | |||
Production Design by | |||
| Gittan Gustafsson | |||
Costume Design by | |||
| Millie Ström | |||
Makeup Department | |||
| Nils Nittel | .... | makeup artist | |
Second Unit Director or Assistant Director | |||
| Gösta Ekman | .... | assistant director | |
Art Department | |||
| Karl-Arne Bergman | .... | property master | |
Sound Department | |||
| Aaby Wedin | .... | sound | |
| Sven Rudestedt | .... | sound mixer (uncredited) | |
| Lennart Wallin | .... | sound (uncredited) | |
Camera and Electrical Department | |||
| Louis Huch | .... | still photographer (uncredited) | |
| Björn Thermænius | .... | assistant camera (uncredited) | |
Other crew | |||
| Katinka Faragó | .... | script girl (as Katherina Faragó) | |
| Sven Sjönell | .... | location manager | |
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| Day of the Wacko | In a Better World | Saraband | Those Who Love Me Can Take the Train | Innocence |
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| Full cast and crew | Company credits | External reviews |
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| IMDb Sweden section |
I'd seen "Wild Strawberries" as a college freshman when it was first released, and knew right away I'd be a Bergman fan from then on.
I watched it again just last night, January 2004, at age 63, and needless to say got a whole different perspective on the film. Where the surrealist touches, moody photography, and incredibly smooth direction had made the big hit with me as a near boy, as an aging man I found myself--I hesitate to say painfully, but...well, closely--identifying with old Isak Borg in his strange pilgrimage, both interior and exterior, the day he receives his honorary degree at the cathedral in Lund.
In the last twenty minutes or so of the movie, I found tears running down my face, not from any thrilling sentimental browbeating (I doubt if Mr. Bergman shot five seconds' worth of sentimentality in his whole long career!) but simply from the cumulative emotional impact of this simple, powerful story and its probing revelation of human character, desire, and chagrin.
By the time the film ended, I felt wrung out, disoriented, happy and deeply sad at the same time: it's the experience the Greeks wanted their tragedies to convey to the spectator; they spoke of "katharsis." I experienced it firsthand when I had the great good fortune to see a production (in English) of "Medea." I walked away in tears and scarcely able to think straight for an hour or so.
The same thing happened with "Wild Strawberries." This is one of the handful of films I unhesitatingly rate a "ten."
A side note: I watched the Criterion Collection DVD. Before the film itself, I watched the hour-long interview conducted in 1998 by Jorn Donner included on the disc. It was remarkable to see how the film Bergman shot ca. 1957 contains many elements that were to be present in his later life--like a foreshadowing of his own old age.