tag:blogger.com,1999:blog-752271157599735122.post7776069011287378517..comments2023-06-19T03:11:12.492-05:00Comments on Arctic Shores Contemporary Reviews: WILD STRAWBERRIES (1957): Ingmar Bergman and LonelinessRobert S. Millerhttp://www.blogger.com/profile/18287626905179712741noreply@blogger.comBlogger1125tag:blogger.com,1999:blog-752271157599735122.post-59496314658978125782014-01-17T18:18:26.715-06:002014-01-17T18:18:26.715-06:00One problem with the reviewers is that they almost...One problem with the reviewers is that they almost all insist on Wild Strawberries (WS) consisting of memories (a la A Christmas Carol) instead of original dreams. Isak has only one actual memory and it comes within a dream, i.e. the wife's infidelity in the clearing. The rest of the "flashbacks" are original dreams that sometimes occur in places from Isak's past, but even then, are distorted as is typical of dreams. <br /><br />The deeper theme in WS is that, though humanity has progressed technologically and scientifically, it has gone nowhere in the relations between men and women, which spiritual life depends on. Isak's dreams are telling him that humanity is on its spiritual death bed and that the genders must change their attitudes toward each other to avoid eternal spiritual death. In fact, humanity has never lived, and now something must finally be done. Marianne and Isak must work together to give real birth (life) to humanity, not just physical birth to another child who will end up alienated like Isak. Marianne and Isak (men and women) have both contributed to humanity's living death. Isak's attitudes are more blatantly dysfunctional because they are more aggressive (e.g. based on manly principle, criticism of women) while Marianne's attitudes are more subtly dysfunctional because they are couched in compassion (e.g. avoiding abortion by giving physical birth).<br /><br />Telling is the dream in which Isak meets the young woman who cradles a crying baby after bitching Isak out for his coldness, etc. That crying baby is Isak. And he is still crying inside as an old man, as he tells the young woman: “It hurts so to smile.” Why is Isak still a crying baby? Because men and women have been unwilling to get along, having hidden behind their principles and superficial compassion. To live, the genders must replace the bickering and the arrogance with mature communication. That is achieved by each of them making themselves vulnerable by expressing their respective fears. In short, they must stop focusing how they “love” each other and start honestly “liking” each other.<br /><br />That explains the change in Isak and Marianne when, near the end of the film, after listening to Isak’s dreams and meeting Isak’s critical mother, Marianne drops her criticisms of Isak and says I like you Isak. Isak tells that he likes her too, and tells Evald he need not repay the loan. The lake scene at the end is not a memory, but another dream where Isak’s parents wave to him, symbolizing the spiritual connection Isak has made and the ability now of humanity to go on. The fishing pole arcs into the water symbolizing the unconscious. Isak’s previously tense face (the sour strawberry) is relaxed (a mature strawberry) now ripended into life under the leaf of consciousness.<br /><br />However one interprets WS, to be the classic film it is repudiated tobe, the interpretation must be more than just a man coming to terms with his faults.<br /><br />Erik L. Smith <br />Anonymousnoreply@blogger.com