Two estranged sisters, Ester and Anna, and Anna's 10-year-old son travel to the Central European country on the verge of war. Ester becomes seriously ill and the three of them move into a hotel in a small town called Timoka.
With the exception of his elderly housekeeper Miss Agda who he treats almost like a surrogate platonic wife, widowed seventy-eight year old Dr. Isak Borg, a former medical doctor and professor, has retreated from any human contact, partly his own want but partly the decision of others who do not want to spend time with him because of his cold demeanor. He is traveling from his home in Stockholm to Lund to accept an honorary degree. Instead of flying as was the original plan, he decides to take the day long drive instead. Along for the ride is his daughter-in-law Marianne, who had been staying with him for the month but has now decided to go home. The many stops and encounters along the way make him reminisce about various parts of his life. Those stops which make him reminisce directly are at his childhood summer home, at the home of his equally emotionally cold mother, and at a gas station where the attendants praise him as a man for his work. But the lives of other people they ...Written by
It has been included as a continuity error that Marianne says she is going to go swimming at the old house, but when she returns her hair does not appear to be wet. This is not a continuity error, because when the film was shot in the late 1950s, and for at least a decade afterwards, at least in the Nordic countries women gathered their hair up and covered it with a special swimming cap to protect their hair from becoming wet. Some women who had grown up during those times used swimming caps as late as the 1980s, because they had grown up with the custom, and a swimming cap was to them just as integral part of swimming attire as a swimming suit. See more »
In this symbolic tale of an old man's journey from emotional isolation to a kind of personal renaissance, Ingmar Bergman explores in part his own past, and in doing so rewards us all with a tale of redemption and love.
Victor Sjostrom, then 80 years old, stars as Professor Isak Borg whose self-indulgent cynicism has left him isolated from others. Sjostrom, whose work goes back to the very beginning of the Swedish cinema in the silent film era, both as an actor and as a director, gives a brilliant and compelling performance. All the action of the film takes place in a single day with flashbacks and dream sequences to Borg's past as Borg wakes and goes on a journey to receive a "Jubilee Doctor" degree from the University of Lund. Bergman wrote that the idea for the film came upon him when he asked the question, "What if I could suddenly walk into my childhood?" He then imagined a film "about suddenly opening a door, emerging in reality, then turning a corner and entering another period of one's existence, and all the time the past is going on, alive."
Bibi Andersson plays both the Sara from Borg's childhood, the cousin he was to marry, and the hitchhiker Sara who with her two companions befriends him with warmth and affection. The key scene is when the ancient Borg in dreamscape comes upon the Sara of his childhood out gathering wild strawberries. Borg looks on (unnoticed of course) as his brother, the young Sigfrid, ravishes her with a kiss which she returns passionately; and, as the wild strawberries fall from her bowl onto her apron, staining it red, Borg experiences the pain of infidelity and heartbreak once again. Note that in English we speak of losing one's "cherry"; here the strawberries symbolize emotionally much the same thing for Sara. Later on in the film as the redemption comes, the present day Sara calls out to Borg that it is he that she really loves, always and forever. Borg waves her away from the balcony, yet we are greatly moved by her love, and we know how touched he is.
The two young men accompanying Sara can be seen as reincarnations of the serious and careful Isak Borg and the more carefree and daring Sigfrid. It is as though his life has returned to him as a theater in which the characters resemble those of his past; yet we are not clear in realizing whether the resemblance properly belongs in the old man's mind or is a synchronicity of time returned.
Memorable is Ingrid Thulin who plays Mariana, the wife of Borg's son who accompanies him on the auto trip to Lund. She begins with frank bitterness toward the old man but ends with love for him; and again we are emotionally moved at the transformation. What Bergman does so very well in this film is to make us experience forgiveness and the transformation of the human spirit from the negative emotions of jealousy and a cold indifference that is close to hate, to the redemption that comes with love and a renewal of the human spirit. In quiet agreement with this, but with the edge of realism fully intact, is the scene near the end when Borg asks his long time housekeeper and cook if they might not call one another by their first names. She responses that even at her age, a woman has her reputation to consider. Such a gentle comeuppance meshes well with, and serves as a foil for, all that has gone on before on this magical day in an old man's life.
See this for Bergman who was just then realizing his genius (The Seventh Seal was produced immediately before this film) and for Sjostrom who had the rare opportunity to return to film as an actor in a leading role many decades past him prime, and made the most of it with a flawless performance, his last major performance as he was to die three years later.
(Note: Over 500 of my movie reviews are now available in my book "Cut to the Chaise Lounge or I Can't Believe I Swallowed the Remote!" Get it at Amazon!)
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