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Title: Wild Strawberries (1957)
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| Cast overview, first billed only: | |||
| Victor Sjöström | ... | Dr. Eberhard Isak Borg | |
| Bibi Andersson | ... | Sara / Hitchhiker | |
| Ingrid Thulin | ... | Marianne Borg | |
| Gunnar Björnstrand | ... | Dr. Evald Borg | |
| Jullan Kindahl | ... | Agda | |
| Folke Sundquist | ... | Anders | |
 |
Björn Bjelfvenstam | ... | Viktor (as Björn Bjelvenstam) |
| Naima Wifstrand | ... | Mrs. Borg - Isak's Mother | |
| Gunnel Broström | ... | Berit 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 | |
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 Huggo
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Bergman has been seen by many as being a depressing film makes, who speaks above the heads of most people. Thank God someone does! In this piece of genius, we are asked to consider who God is; what makes a life worthwhile; and whether human nature alters through the generations, or is it just the costumes that change? As usual, the answers are to be provided by the audience. We must chose for ourselves what we think is 'right' or 'just'. Bergman uses the usual pattern for him - a man is on a journey (life) and meets people who are going along the same road (friends and family), and they all head toward the end of their trip (death). They stop in for obligatory visits with relatives and for food (as we all do), receive an honourary degree (fame & success?), and then send the children off to a party held in our honour that we do not attend (funeral). What happens along the way is important, but we always end up in the same place - the end. Wonderful editing techniques, good story, good images, fantastic acting, and more ideas and questions to ponder than one film can hold - or so you thought. It's only after the film ends that these ponderings come to you. During the film, you simply watch a man travel from his home to another city, but this is far from what the film is about. See this film once, think about the questions it poses, then rewind and see it again. You will be rewarded for doing so.