As the film begins, Professor Isak Borg (Victor Sjöström), 78, is putting together his memoirs for a Doctor Jubilaris degree he’s receiving later that day for his 50 years of service to medicine. After a disturbing nightmare he decides to change his travel plans and drive to Lund rather than fly, stopping along the way, visiting places that were significant in his youth—a summer house, a small town where he practiced medicine, and his mother’s home.
Accompanying Isak is his daughter-in-law Marianne (Ingrid Thulin), currently separated from his only son Evald (Gunnar Björnstrand), but considering reconciliation. Stopping at the summer house, Isak recalls some fond, and not so fond, memories of his time there. In a flashback, he remembers a seminal moment in his young adulthood, when he lost a woman he loved to another man.
Back on the road, they pick up a hitchhiker named Sara (Bibi Andersson), who reminds Borg of his first love. They rescue a stranded, verbally abusive husband and his suffering wife, who undoubtedly mirror Isak’s cruelty to his late wife. The two are so vindictive toward one another that Marianne stops the car and asks them to leave. After dropping of the young couple, Isak has a second, significant, dream. It has three distinct parts. The first, is sadness over his long ago lover’s marriage to someone else; the second part is an easy medical exam he flunks (in fact, it’s an exam he’s never taken); the third part involves his wife’s infidelity. Each points out Isak’s frustration over not being able to make simple, real, and lasting connections in his life.
As we watch Isak’s dreams play out, it’s impossible not to wonder how much is real, and how much is his perception. After all, as the film reminds us, dreams are fed by imagination, and in this case, a healthy dose of self-pity. As many filmmakers might, Bergman doesn’t attempt to provide easy answers regarding Isak’s life. Instead, we are left with questions; Questions that may force us, the viewer, to think about our ideas of love, life, and death. By the end of his journey, Isak knows that he has experienced something far more gratifying than an award can ever be. The award is based on someone else’s perception of him. The journey, allowed Isak to really get to know himself, for the first time in his life.
Wild Strawberries was given a 2K restoration, and manually cleaned of dirt and debris, and print damage. The result is a simply stunning presentation. Framed at 1.33:1, Criterion’s 1080p transfer has wonderful depth and detail. Sporting stunning blacks, the film’s dream sequences look more vivid than ever before. This near perfect transfer should should be in the collection of anyone who loves Wild Strawberries.
The Swedish uncompressed monaural audio appropriately preserves the film’s original sound design. Things sound clean and clear throughout, with dialogue coming through strongly. Any clicks, pops, or other audio issues were dealt with during the restoration process.
English subtitles are available.
The following special features are included:
- Audio Commentary with Film Scholar Peter Cowie: Originally recorded for Criterion’s 2002 DVD release, Cowie offers an in depth and informed analysis of Wild Strawberries. He discusses the production history, and offers some insight as to how Bergman’s personal life influenced the film.
- Introduction (HD, 4:04) Bergman provides a few comments about how the film came to be.
- Behind the Scenes of Wild Strawberries (HD, 16:54) Silent footage shot by Bergman on the set of Wild Strawberries. Jan Wengstrom, curator of archival film collections at the Swedish Film Institute, comments on the footage. This is an absolute must-see for fans of the film.
- Ingmar Bergman on Life and Work (HD, 1:30:38) A 1998 documentary by Jörn Donner who interviews the director about his personal life and creative contributions to the film industry.
- Booklet: A16-page illustrated booklet featuring Mark Le Fanu’s essay “Where Is the Friend I Seek?”
