Wild Strawberries (1957) Smultronstället (original title)

Director:

Ingmar Bergman

Writer:

Ingmar Bergman (written by)

Release Date:

22 June 1959 (USA)

Genre:

Drama

Plot:

After living a life marked by coldness, an aging professor is forced to confront the emptiness of his existence.

Plot Keywords:

Professor | Elderly | Daughter In Law | Gas Station | Hitchhiker

Awards:

Nominated for Oscar. Another 12 wins & 2 nominations

Cast

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

Production Companies

• Svensk Filmindustri (SF)

Distributors

• Janus Films (1959) (USA) (theatrical) (subtitled)
• Constantin Film (1961) (West Germany) (theatrical)
• Public Broadcasting Service (PBS) (1978) (USA) (TV) (network premiere)
• Whirlwind Media (2000) (USA) (DVD)
• Criterion Collection, The (2002) (USA) (DVD)
• Home Vision Entertainment (HVE) (2000) (USA) (video)
• Gutek Film (2006) (Poland) (all media)
• Image Entertainment (2006) (USA) (DVD)
• Kinowelt Home Entertainment (2006) (Germany) (DVD)
• Süddeutsche Zeitung (2006) (Germany) (DVD)
• Arthaus Filmverleih
• Criterion Collection, The (2013) (USA) (DVD)
• Cult Filmes (Brazil) (VHS)
• Odeon (Hungary)
• Palisades Tartan (2009) (UK) (all media)
• Tartan Video
• Versátil Home Vídeo (Brazil) (DVD)
• Video Yesteryear

Also Known As:

"Smultronstället" - Sweden (original title)

Runtime:

91 min

Country:

Sweden

Language:

Swedish | Latin

Color:

Black and White

Aspect Ratio:

1.37 : 1

Sound Mix:

Mono

Certification:

Finland:K-16 | Netherlands:12 (video rating) | Sweden:15 | UK:15 | USA:Unrated | West Germany:16 | Argentina:16 | UK:A (original rating) | Iceland:Unrated | Canada:PA (Ontario) | South Korea:15 (2002) | Portugal:M/12 | Australia:PG | South Korea:12 (2012)

Filming Locations:

Dalarö, Stockholms län, Sweden

Company:

Svensk Filmindustri (SF)

Trivia:

According to the Swedish DVD release (which contains an introductory interview with Bergman himself), Ingmar Bergman wrote the movie with Victor Sjöström in mind. He and the production company agreed that there would be no movie without Sjöström. Bergman didn't dare to call his idol Sjöström himself about the movie thou, so the head of Swedish movie industry made the call. Sjöström was initially reluctant, due to his high age, but agreed to meet with Bergman to discuss the movie. So Bergman went to his apartment and talked about it, Sjöström said he'll think about it. The next morning Sjöström called and agreed on the part on one condition. As long as Bergman promised Sjöström that he'd be able to come home and have his whiskey grog at 5 pm every day, he would do the movie.

Goofs:

Continuity: The front license plate on the VW disappears when untying the rope.

Quotes:

Viktor:[to his friend who wants to become a priest] When your were little you belived in Santa Claus, now you belive in God.

Movie Connections:

Referenced in "Greek: The Dork Knight (#3.7)" (2009)

Soundtrack:

PARADEMARSCH DER 18:ER HUSAREN

First Bergman

During the first scene of "Wild Strawberries," I didn't think I'd be able to get through it -- the Swedish was so alien to me it sounded almost comical; it seemed as if every word ended with an "eer" sound. But quickly the beautiful black and white photography caught my eye and I was drawn into Isak Borg's story, or rather, his self-examination.

The progression of the film is fantastic. Early in the film, Isak has an apparition within a dream and the small events leading up to it, within the dream, are quite brilliant. Throughout the rest of the film there are dreams and recollections; newly discovered secrets of the past that Isak sees for the first time. As he says in the film, "Dreams, as if I must tell myself something I won't listen to when I'm awake."

How Bergman shows us the characters is terrific. It's a like a relaxed puzzle that doesn't emphasize any sort of urgency to figure things out. The story unfolds beautifully as we get a deeper sense of Isak, who I assume is an alter ago of Ingmar Bergman at that stage of his life (he was thirty-nine when the film was released).

It pains me to know that the majority of people my age would rather watch an Adam Sandler movie or "The Rock" than something like this. Hey, I liked "Big Daddy" and I love Nicolas Cage, but "Wild Strawberries" is one of the few films I've seen that could possibly change the way I live my life. I'm always interested in listening to what aged people have to say about their own life because, well, it can only give me tips about my own, and that's what this film does in a way.

There is one sequence in the film that is frightening and "arty," and I don't completely grasp what it means beyond Isak's deterioration and his realization of how people actually feel towards him (he's told earlier in the film as well, but he seems to accept this "verdict" more readily), but it doesn't take away from the film; rather, it's an interesting addition to an otherwise satisfying experience. In fact, it's probably the most vital part of the movie -- Isak may not like it, bbut once he gets past it, he has the option to develop.

I don't know if the film is a masterpiece -- it's my introduction to Bergman, so once I see "Cries and Whispers," "Fanny and Alexander," "Persona" and "The Seventh Seal" (if I can get through it, this time) I'll come back to this film with a new perspective, or at least see it as a part of Bergman's whole. I do think this is a great film of its type. It's the kind of film that may require viewings every five or so years, as a sort of reminder.

Pauline Kael once said that she didn't think much of Bergman because she'd done her share of soul-wrestling and it wasn't that difficult. The film isn't as challenging as I was expecting it to be, in fact, it's a walk in the park. It's pleasant and rich and beautiful, and the title seems perfect after you've seen the film. It's all about wild strawberries.

****