Jullan Kindahl

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Wild Strawberries Review


OK
I've never been much of an Ingmar Bergman fan, but I have respect for much of his work. Wild Strawberries is the notable exception, often hailed as his best or second-best work (after The Seventh Seal). I frankly think it's sub-par, overwhelmingly oppresive in its obvious imagery -- crucifixion motifs and non-sequitur dream sequences -- to the point where a legion of film students have been prompted to copycat its overt heavy-handedness for half a century. In fact, I keep thinking about The Big Picture, where the film students have produced such ultra-sensitive tripe but find heaps of praise piled upon them anyway. Presumably, the audience is stunned that it can understand the filmic metaphors they have created, and thus, they must be genius.

Wild Strawberries is exactly this type of film, a short but often unbearable production about an ancient doctor grappling with a death that is just around the corner. He ends up on a road trip, filled with false starts, wrong turns, and fantastic dream/fantasy sequences, all designed for him to confront death and question the existence of God. But nothing is really questioned, it is simply presented as bleak and nasty, with our hero facing the inevitability of a void in lieu of the afterlife. The film does not provoke any questions or debate about either death or God.

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