Review of Wild Strawberries (2012) by Jackson M — 30 Oct 2012

It's embedded within human nature that eventually we have to pursue our certain ideals. Whatever these ideals are, it doesn't matter, all that matters is that we capture them because we believe that achieving such subjective desires will provide us with a sense of purpose. However, if we capture such ideals will that guaranteed our happiness? Maybe so, maybe not. 'Wild Strawberries' illuminates the occasion and the question that lingers over humanity, a question and a reflective state that everyone will eventually have to answer: Has the pursue of my personal ideals gave me a sense of satisfaction? Or have I only accomplished neglecting the moments of happiness that matter most? It's a question that I know I will have to face, and I hope I find an answer that contains resolution.

'Wild Strawberries' situates it's story around Dr. Isak Borg (Sjostrom), an aged professor who is near the end of his life. Bergman's choice to develop the narrative around an aged man obviously reflects the notion to what extent does an individuals life contain a sense of purpose; as when we reach such an age, we reflect over the regrets and decisions that we have contributed to the universe and wonder if our life was a failure or an achievement. Borg is man who has achieved such accomplishing ideals; he is regarded as an honorary scientist and is being rewarded a prestige honor for his contribution. However, despite such virtues, Borg is also a man surrounded by isolation and regrets. Through a self reflective journey and a number of typical, but always memorable dream sequences; Bergman ultimately question such ideals that humanity continually stride for and that they only end with a superfluous purpose.

Borg introduces us into his life; he inhabits a world that revolves around a sense of isolation which has been contributed from his egotistical nature. After we learn Borg's nature, Bergman introduces his favorite motif: Dream sequences. Borg's first dream takes place within a mysterious street. The street consist of clock that has no handles, a 'man' with a seriously weird head with the accompany of a hearse. Each separate figure represents a form of deterioration: the clock has lost its ability to tell time, the man eventually losses his head and there is a dead body within the hearse that resembles Borg's figure. Through this dream, Bergman is suggesting that death is just around the corner for Borg. Similar to the other sequences, Bergman deploys dreams and memories as a self-reflective state to display Borg's past. Each separate sequence contains it's importance, whether it consist of moments of revelation or innocence, they are moments that Borg wishes he could correct.

If you are not a fan of Bergman's brilliant ability in conveying the subconscious, Don't be afraid! 'Wild Strawberries' is obviously one of Bergman's most accessible films, contributed greatly from Victor Sjostrom performance. With a film that focuses a substantial amount of it's plot around the actions of a single man, it's important for the audience that we share an emotional connection, to which Sjostrom excels brilliantly in conveying his characters isolation and the lost of his true love. Through a reflective state of his innocence, Borg reveals that his true love left him for another man. In one particular and truly poignant dream sequence, Borg's love holds a mirror to his face and proceeds in mocking and situating Borg to a subordinate position as she tells him "I'm going to marry your brother." We see Borg on the verge of tears as he whimpers "But it hurts so." Undeniably heartbreaking.

As I previously mentioned, 'Wild strawberries' functions as a self-reflective journey of an individual. Through typical Fashion, Bergman uses Borg's life as an examination of the human condition in relation to our obsession of pursuing ideals that will ultimately eventuate in reminiscing over the sacred moments that we have neglected. Bergman solidifies this through the final sequences. Borg receives his prestige honor through an empty ritual; his reward contains no purpose. However, through the ending many of characters seem to find a sense of resolution, consider Borg's and Sara's (Andersson) final conversation, "Good-bye, father Isak. Can't you see you're the one I love? Today, tomorrow and forever" to which Borg replies "I'll keep that in mind," and then for the final time we enter Borg's dreams to find that his mother and father are fishing by the river. Surprisingly, Borg's dream contains a sense of happiness rather than a sense of gloom. Borg now contains peace and tranquility, he can die in happiness.

Essential Bergman.