• Unrated, 1 hr. 30 min.
  • Drama
  • Directed By:
    Ingmar Bergman
    In Theaters:
    Dec 26, 1957 Wide
    On DVD:
    Feb 12, 2002
  • Janus Films

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Smultronstället (Wild Strawberries) Reviews

Page 1 of 2
David Parkinson
Empire Magazine

Gunnar Fischer's photography becomes ever more luminous and Sjöström's performance grows in greatness.

Full Review Source: Empire Magazine | Original Score: 4/5

July 23, 2013

The relentless symbolism, and some rather heavy-handed dream sequences are off-putting at times, but Wild Strawberries has enough sorrow, warmth and profundity to make for sophisticated and rewarding viewing.

Full Review Source: Film4

July 23, 2013

Total Film

If some of the symbolism is a bit top-heavy, Bergman's richly evocative contrasts of youth with age more than compensate, as does Sjöström's majestic performance.

Full Review Source: Total Film | Original Score: 4/5

July 23, 2013
Robert Hatch
The Nation

A reviewer must exercise some tact in discussing this picture. It is a work of such high and subtle art that the temptation is to run in with a smother of adjectives and a display of analytical explanation.

Full Review Source: The Nation

July 23, 2013
Eric Melin

Bergman's often heralded masterpiece of European cinema is more than a formal delight. It's funny, touching, and very, very emotional.

Full Review Source: Scene-Stealers.com | Original Score: 4/4

July 22, 2013
Phil Villarreal

Swedish master Ingmar Bergman delivered one of his greatest ruminations on love and life in this 1957 drama.

Full Review Source: COED.com | Original Score: 4/4

June 11, 2013
Donald J. Levit
ReelTalk Movie Reviews

Several actors who were to form the director's virtual stock company are here, but it is Sjöström who is heart and soul of the film.

Full Review Source: ReelTalk Movie Reviews

January 25, 2013
Variety Staff
Top Critic IconTop Critic

It's a personal and profound work.

Full Review Source: Variety

March 26, 2009
Steven D. Greydanus
Decent Films Guide

With unyielding moral precision no less austere for the lack of any religious conviction behind it, Bergman subjects his protagonist to judgment for the crimes of indifference and selfishness, and pronounces a verdict of "the usual" sentence: loneliness.

Full Review Source: Decent Films Guide | Original Score: A

October 29, 2008
Dave Kehr
Chicago Reader
Top Critic IconTop Critic

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

Full Review Source: Chicago Reader

July 9, 2007
Emanuel Levy

One of Ingmar Bergman's many masterpieces, this universal meditation on the meaning of life is extremely well-acted by Victor Sjostrom (also known as director) as ther aging professor.

Full Review Source: EmanuelLevy.Com | Original Score: A

April 12, 2007
Dennis Schwartz
Ozus' World Movie Reviews

It's most memorable due to the heartfelt sterling performance by the seventy-something Victor Seastrom.

Full Review Source: Ozus' World Movie Reviews | Original Score: A

December 21, 2006
Geoff Andrew
Time Out
Top Critic IconTop Critic

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

Full Review Source: Time Out

January 26, 2006
Rich Cline
Shadows on the Wall

a masterpiece

| Original Score: 5/5

June 29, 2005
Daniel Eagan
Film Journal International

Landmark Bergman

| Original Score: 4/5

September 20, 2004
Jeffrey M. Anderson
Combustible Celluloid

My favorite Ingmar Bergman film, without question.

Full Review Source: Combustible Celluloid | Original Score: 4/4

June 21, 2004
Dan Jardine
Apollo Guide

A film of rare beauty and pain

| Original Score: 5/5

September 2, 2003
John Esther
Pasadena Weekly


| Original Score: 4/5

August 2, 2003

TV Guide's Movie Guide

Sjostrom, in his final film, delivers one of the finest performances in any Bergman film -- a major accomplishment considering the virtuosity that Bergman's actors consistently display.

Full Review Source: TV Guide's Movie Guide | Original Score: 4.5/5

July 30, 2003
Bosley Crowther
New York Times
Top Critic IconTop 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 Source: New York Times

May 20, 2003
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