Bergman | Sjöström

concept and edited by Giuseppe Briffa

FILM
Wild Strawberries By Ingmar Bergman
Körkarlen - The Phantom Carriage By Victor Sjöström


Wild Strawberries is a 1957 Swedish drama film written and directed by Ingmar Bergman. The original Swedish title is Smultronstället, which literally means "the wild strawberry patch" but idiomatically signifies a hidden gem of a place, often with personal or sentimental value, and not widely known. The cast includes Victor Sjöström in his final screen performance as an old man recalling his past, as well as Bergman regulars Bibi Andersson, Ingrid Thulin, and Gunnar Björnstrand. Max von Sydow also appears in a small role.
Bergman wrote the screenplay while hospitalized.[1] Exploring philosophical themes such as introspection and human existence, Wild Strawberries received wide positive domestic reception upon release, and won the Golden Bear for Best Film at the 8th Berlin International Film Festival. It is often considered to be arguably Bergman's greatest and most moving film and one of the greatest films ever made.
Grouchy, stubborn, and egotistical Professor Isak Borg is a widowed 76-year-old physician who specialized in bacteriology. Before specializing, he served as a general practitioner in rural Sweden. He sets out on a long car ride from Stockholm to Lund to be awarded the degree of Doctor Jubilaris 50 years after he received his doctorate from Lund University. He is accompanied by his pregnant daughter-in-law Marianne who does not much like her father-in-law and is planning to separate from her husband, Evald, Isak's only son, who does not want her to have the baby, their first.
During the trip, Isak is forced by nightmares, daydreams, old age, and impending death to reevaluate his life. He meets a series of hitchhikers, each of whom sets off dreams or reveries into Borg's troubled past. The first group consists of two young men and their companion, a woman named Sara who is adored by both men. Sara is a double for the love of Isak's youth. He reminisces about his childhood at the seaside and his sweetheart Sara, with whom he remembered gathering strawberries, but who instead married his brother. The first group remains with him throughout his journey. Next Isak and Marianne pick up an embittered middle-aged couple, the Almans, whose vehicle has nearly collided with theirs. The pair exchanges such terrible vitriol and venom that Marianne stops the car and demands that they leave. The couple reminds Isak of his own unhappy marriage. In a dream sequence, Isak is asked by Sten Alman, now the examiner, to read "foreign" letters on the blackboard. He cannot. So, Alman reads it for him: "A doctor's first duty is to ask forgiveness," from which he concludes, "You are guilty of guilt."
He is confronted by his loneliness and aloofness, recognizing these traits in both his elderly mother (whom they stop to visit) and in his middle-aged physician son, and he gradually begins to accept himself, his past, his present, and his approaching death.
Borg finally arrives at his destination and is promoted to Doctor Jubilaris, but this proves to be an

The Phantom Carriage (Swedish: Körkarlen, literally "The Wagoner") is a 1921 Swedish silent film directed by and starring Victor Sjöström, based on the 1912 novel Thy Soul Shall Bear Witness! (Körkarlen) by Swedish author Selma Lagerlöf. In the film, Sjöström plays a drunkard named David Holm who, on the night of New Year's Eve, is compelled by the ghostly driver of Death's carriage to reflect on his past mistakes. Alongside Sjöström, the film's cast includes Hilda Borgström, Tore Svennberg, and Astrid Holm.
The Phantom Carriage was released in Scandinavia on New Year's Day 1921. The following year, Metro Pictures Corporation re-edited and released the film in the United States under the title The Stroke of Midnight;] it was known as Thy Soul Shall Bear Witness! in the United Kingdom.
The Phantom Carriage is notable for its special effects, its innovative narrative structure with flashbacks within flashbacks, and for having been a major influence on the works of Ingmar Bergman.[4] It has been characterized as belonging to several genres—it has been called a morality tale,a melodrama,[5][6] a fantasy film, and a horror film.[5][6] It is sometimes considered one of the first horror films due to its atmosphere and its impact on later entries in the genre.[5] The film is generally considered to be one of the central works in the history of Swedish cinema.
On New Year's Eve, dying Salvation Army Sister Edit has one last wish: to speak with David Holm. David, a drunkard, is sitting in a graveyard, telling his two drinking buddies about his old friend Georges, who told him about the legend that the last person to die each year has to drive Death's carriage and collect the souls of everybody who dies the following year. Georges himself died on New Year's Eve the previous year.