I don’t know what I expected exactly from Wild Strawberries. I certainly loved The Seventh Seal while acknowledging that it fully deserves its reputation for being a cold film of stark contrasts, heavy with symbolism and religious weight. You really do need to bring an understanding and appreciation of Christian imagery and theology to fully appreciate it. Ingmar Bergman made this immediately after completing The Seventh Seal so I certainly did not expect this to be a warm, uplifting and completely approachable.

Part of this is because it is actually a road movie. Victor Sjöström plays 78-year-old doctor Isak Borg who has to travel to his old university in Lund to receive an award. He originally plans to go by air, but after having a disquieting dream he suddenly decides to make the day-long drive. His daughter-in-law who is estranged from her husband accompanies him. Along the way they pass through the house in which Borg grew up as well the small community in which he once worked.

As they travel, they meet with a variety of people including a group of youngsters and a warring couple. While Borg naps during their stops or in the car, he dreams of his childhood and of his long deceased wife. With the benefit of hindsight and perhaps a touch of wisdom, he sees the past scenes of his life in a new light. He comes to grips with the realization that even though he is lauded as a doctor and has earned the gratitude of the local community, he has not cared as much for his loved ones as he could have.

This is a strikingly intimate portrait of the psyche of a man nearing the end of his life. Like everyone else, his is a life filled with regrets and anxiety over the value of his achievements. The surprising thing is that, through the interactions with the youngsters, visiting with his mother and learning of the troubles of his son’s marriage, he also seems to understand that he still has time to make some small amends, to remember the joyful things in his life and to make peace with his mistakes. It is a surprisingly humanistic message coming from Ingmar Bergman.

At the same time, there is no trace of sentimentality, even when he sees his numerous siblings and cousins sitting down for a meal in his childhood home or when he accepts a playful joking declaration of love from the young woman who wears the face of his childhood beloved, played by Bergman regular Bibi Andersson. Instead there is only a quiet sort of dignity and power exemplified in Sjöström’s stoic performance.

Bergman captures all of this in an understated way. This is a film free of histrionics or excess displays of emotion. Yet because of this it is unpretentious while being full of life and beauty, devastating in its impact. This is apparently one of Bergman’s most liked films. It is certainly one of the best films I’ve ever watched.