Wild Strawberries (1957)

Wild Strawberries (1957)

Wild Strawberries




Critic Consensus: No consensus yet.

Wild Strawberries Videos & Photos

Movie Info

After exploring his disillusionment with religion in his previous films, Ingmar Bergman adopted a humanistic approach for this classic study in isolationism. Legendary Scandinavian director Victor Sjöström stars as Isak Borg, an aging medical professor who reassesses his life while journeying to his former university to receive an honorary degree. Borg travels with his estranged daughter-in-law Marianne (Ingrid Thulin) and revisits many of the landmarks of his past, conjuring up memories of his … More

Rating: Unrated
Genre: Drama
Directed By:
Written By: Ingmar Bergman
In Theaters:
On DVD: Feb 12, 2002
Janus Films


as Marianne Borg

as Prof. Isak Borg

as Evald Borg

as Isak's Mother

as Agda, the housekeep...

as Mrs. Berit Almann

as Isak's Mother

as Isak's Wife

as Her Lover

as Aunt

as Uncle Aron

as Sigbritt

as Charlotta

as Angelica

as Mrs. Akerman

as Promoter

as (uncredited)

as (uncredited)
Show More Cast

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Critic Reviews for Wild Strawberries

All Critics (40) | Top Critics (4)

It's a personal and profound work.

Full Review… | March 26, 2009
Top Critic

An archetypal Ingmar Bergman film, and one of his best.

Full Review… | July 9, 2007
Chicago Reader
Top Critic

One of Bergman's warmest, and therefore finest films.

Full Review… | January 26, 2006
Time Out
Top Critic

Mr. Bergman, being a poet with the camera, gets some grand, open, sensitive images, but he has not conveyed full clarity in this film.

Full Review… | May 20, 2003
New York Times
Top Critic

[VIDEO ESSAY] "Wild Strawberries" is a thematically abundant film that fluidly condenses a lifetime's worth of experience into succinct cinematic fragments under Ingmar Bergman's complex construction of abstract corollaries.

Full Review… | July 22, 2014

...an intensely cinematic psychological portrait of a man reckoning with the how and why of who he's become.

Full Review… | July 21, 2014

Audience Reviews for Wild Strawberries


Ingmar Bergman, 1918-2007

Bob Stinson

Super Reviewer

much less involved than many of bergman's other films, but profound in its simplicity. i was less impressed with the camera work than usual for his films, but the story lends itself well to introspection. charming.

danny d

Super Reviewer


"You know so much, and you don't know anything."

Master of all things meaningful, oeuvre-crafter Ingmar Bergman is no stranger to philosophy. Where the common director goes for the risklessly safe, Bergman takes the audacious route in a prototype vehicle. Every undertaking a challenge. Every tale a crack at the Herculean questions of life and death.

"Who am I and why have I become this way?" are the ones at the heart of Wild Strawberries, a character study of infinite appliance, about an old medical professor named Dr. Isak Borg, who at the winter of his existence reminisce on the choices and events that would eventually arrive at his socially distanced self. Lonely, in part by selection. Cynical and cranky, as the result of incidents made fog-like by the opacity of years gone by.

But then it comes to him in a dream: angst-filled, strikingly symbolic imagery, involving a handless clock (as if to say his time is up) a coffin, flying open, revealing his still alive double expressing spiritual unrest (a self-explanatory metaphor) and last, but certainly least on the bizarreness barometer, a man with a face that - in lack of a better description - only a mother could love. To that last bit I say: [insert interpretation here]. But it is disturbing, let me tell you.

Catalytic in effect, the dream sequence also has the function of a pivotal epiphany. A knock on the door from the bony knuckles of the Grim Reaper (and perhaps a game of chess later on) which in reality manifests itself as an altered course of action. Instead of, as he had originally planned, taking a plane from his home in Stockholm to Lund where he is expected to receive an honorary degree, Dr. Borg decides to go by car instead, making a few stops along the way in what becomes an external journey as much as a spiritual one.

Following along is Marianne, his daughter-in-law played by the drop-dead gorgeous Ingrid Thulin. An actress of such contemporary beauty that you'd never guess it was shot in 1957. We also meet Sara, a sassy young woman (in a vibrant turn by Bibi Andersson) and her entourage consisting of two men at different positions regarding the existence of God. There are some fantastic scenes involving these two; starting off as intellectual debate and later escalating to some more testosterone-filled pushing and shoving. After which Sara hilariously responds: "Well, is there a God?"

There's a lot of humorous touches like that baked into the strawberry pie, which makes it all the tastier. Sweet as that may be though, the main ingredient is more like lemon; sour at Dr. Isak's musings, about love lost and desires unfulfilled. A character who we get to know inside and out, as memories from his past suddenly becomes clear as day; accounting for his glass-is-half-empty persona, as well as the anima in which we discover a man full of warmth and love.

In theme and sentiment, it reminded me a great deal of Charles Dickens' A Christmas Carol and works beautifully as a companion piece to The Seventh Seal. The soul-searching, the existential reflections - it not only mirrors Bergman's own inner struggles at the time (referred to as his "middle period") but also serves as an insightful clue to the subversive, independent thought patterns that shaped the modern Swedish mindset and made it what it is today.

If I'm going to fault the film for anything, it's that shifts in dialogue between poetic and folksy aren't always in concert. For the most part, the screenplay nails it, so it's by no means a major issue, but enough to place it half a star away from a perfect score. Apart from that, however, a deeply mesmerizing meditation on life, death, faith and regret. Riveting performance by Victor Sjöström as Dr. Borg and a magnificent film altogether, which became even more captivating by the fact that I have traveled on some of the same roads as they do in the film (both scenery-wise and spiritually I should say).

Yet, to put it all in words, as I have attempted here, is rather futile when it comes to Bergman. There's not a film by him that I have seen so far that haven't submerged me in a flood of ethereal contemplation. Timeless and spellbinding, it's a maelstrom, however, that I'm more than happy to swirl about in.


Mike S

Super Reviewer

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