Wild Strawberries

Death isn't something anyone looks forward to. All one can do is accept what will eventually happen to them. But then you wonder...did I live a good life?

That's the question on Isak Borg's (Victor Sjostrom) mind throughout Ingmar Bergman's Wild Strawberries. On the day he is to receive his doctorate, he suffers a sort of existential crisis. He examines moments in his life, wondering if he did anything wrong when he was younger.

Bergman apparently knew the human mind and how it works (just look at Persona), as well as the meaning of life an death (The Seventh Seal), family conflict (Autumn Sonata), and judgment and morals (The Virgin Spring). Wild Strawberries has all of those themes and boy, are they on full display beautifully.

It seems fitting that Wild Strawberries was Sjostrom's final film. After all, a film about a man examining his life is practically a perfect swan song for either an actor or a director. (An ideal metaphor for their career? It would seem so.) He definitely gives one of the most essential performances in the history of cinema.

Wild Strawberries is the kind of film that only the most astute of directors will make. Bergman is obviously one such director. Is Wild Strawberries his best film? Well, it's one of them, that's for sure. (My vote goes to either Persona or The Virgin Spring.)

My Rating: *****

Autumn Sonata

When an actor performs their swan song, it's usually rare for it to match that of their more famous work. When it does, it's practically a miracle.

One example is Ingrid Bergman in Ingmar Bergman's Autumn Sonata. Two of Sweden's finest contributions to the world of film working together. And boy, what they do together sure is mesmerizing.

Autumn Sonata also stars Liv Ullmann, a regular of Ingmar's. She was thoroughly impressive with her almost mute performance in Persona. Here in Autumn Sonata, she speaks of her emotional pain through her words and face. It's a great performance from Ullmann, though I'm more fond of her work in Persona.

The fact Ingrid still looks gorgeous in her later years is a crime in itself. Throw in the fact she's still giving great performances towards the end of her life, and you know why she's ranked among the greats of the silver screen. Here, she doesn't express her regrets of her past, but you can definitely tell she can feel it.

Autumn Sonata is very hypnotizing in its subject matter. Most films about the same matter tend to sugarcoat everything. Like Ingmar is interested in that. Definitely one of the best titles from the 1970s.

My Rating: *****

The Virgin Spring

I'm not much on religion or thoughts of morals. And yet with certain films, my mind tends to rush to those very topics. I'm not sure why that is.

I felt this way as I watched Ingmar Bergman's The Virgin Spring. Is murder justifiable for the right reasons? Can He forgive someone for deeds they have done? Bergman asks such question and more.

Some might know this more as the film that was a key influence for Wes Craven's The Last House on the Left. (Those people, in my opinion, are ignorant.) Those that prefer to acknowledge the film as an individual achievement have gone down the better route.

Along with Bergman's direction, it's the notable details that make The Virgin Spring what it is. Of them, the most crucial ones are Max von Sydow's spellbinding performance and Sven Nykvist's haunting cinematography. Both capture the dark mood of the film, and the running theme of right and wrong.

What Bergman captures in The Virgin Spring is the questioning of morals, what drives someone to do something. A number of later films have done the same task on a more melodramatic level. Only Bergman could do this on an honest note. And this is with many of his films, not just The Virgin Spring.

My Rating: *****

Persona

With Ingmar Bergman's Persona, viewers are offered a glimpse into the minds of two different women. One talks about her personal life, the other remains quiet.

I knew of Bergman's depiction of human behavior and nature from The Seventh Seal. With Persona, he provides a more in-depth glance on both topics. (On a different note, why do most foreign films focus on those two mainly?)

It's hard to say which of the two leading ladies gave the better performance. Bibi Andersson's Alma tells of every detail of her life, many of them she never told anyone before. She soon starts speaking for both women, and her transition from each personality is astonishing.

On the flip side, Liv Ullmann's Elisabet Vogler speaks volumes by barely speaking at all. She clearly has a perplexing personality, yet we still wonder about her after we've learned everything about her. Every emotion of hers is played across her face yet she is devoid of any. (Well, except for an early scene.)

Persona really makes you think about one's identity, who we are in society. It also captures two of the best female performances I've seen. And maybe, just maybe, I'll be able to understand Mulholland Drive a little better if at all.

My Rating: *****

The Seventh Seal

I'm trying to expand my movie watching to more than just English language films. Since last year, I've expanded to French (the 400 Blows), Italian (Life is Beautiful, 8 1/2), Swedish (The Seventh Seal) and Japanese (Seven Samurai) language films.

As he is returning home from the Crusade, knight Antonius Block (Max von Sydow) challenges Death (Bengt Ekerot) to a game of chess. As long as he's winning, Antonius can live to see his family.

I can honestly say that The Seventh Seal is a very thought-provoking movie. It makes you think about life and religion when it's over. And it's really dark and bleak. But at the same time it's brilliant.

My Rating: *****