Behind-the-scenes production of wild strawberries

1957 In the film Wild Strawberry shot by Ingmar Bergman, Isaac dreamed that he was standing on a street corner and saw a clock without hands and a carriage loaded with his coffin. For Isaac and the audience, this is by no means a dispensable symbol, it means imminent death oppression-this is the motivation for Isaac to fall into reflection and one of the motivations for the whole movie.

The film tells the story of an aging and numb doctor Isaac's double journey: he will go to the Catholic University of Lund to receive an honorary degree, and he will review his life and embark on the road of finding himself. At the beginning of the film, the two roads crossed, and Isaac decided not to fly, but to drive by himself and take his daughter-in-law Marianne, who also endured the pain of marriage, to the award ceremony.

On the way, Isaac came to a summer resort where he lived when he was young. Marianne went swimming nearby, and Isaac looked back here. The memory of youth began to go back like lightning: here, he lost to another man and to his favorite Sarah. In the next scene, Isaac and Marianne meet three young hitchhikers, among whom the young girl is also named Sarah. In fact, both Sarah are played by Bibi Anderson, which shows a similarity. Just like Sarah in Isaac's memory, Sarah is now faced with the pursuit of two men and is in a dilemma.

The second important event is the car accident that happened in the middle. A middle-aged couple got on Isaac's car, with Isaac and Marianne in front and three young people behind. The two began to retaliate against each other in the car, and Marianne stopped the car and asked them to get off and leave immediately. This orderly arrangement in space seems to imply a linear tragedy in time. Isaac remembered the failed marriage in his life, Marian witnessed his present and three young people saw their future.

After driving away the quarrelling couple, Isaac had another very important dream, which had three parts: the first part was about his beloved Sarah leaving him and being with his cousin, which made him feel sad. The second part is about a very simple doctor exam, which he failed. The third part is about the wife's infidelity. Isaac saw his wife flirting with another man. Standing in the distance, he clearly heard how much his wife resented his indifference and forgave her way of betrayal. In this dream, every scene exposes Isaac's depression and numbness, showing the expensive distance between him and love.

The name of the film is Wild Strawberry, which symbolizes the beauty of Switzerland's short summer and the most wonderful moment in our lives before we were tamed by responsibility and self-restraint. In the film, Bergman did not give a simple answer or a didactic conclusion. He just showed the problem, let the conclusion gradually emerge with the breeding of the problem, and finally gave a soothing answer: Isaac found his parents, found love and got rid of the entanglement of death and numbness under the guidance of his beloved Sarah. This is a positive answer. The firm response to the question makes Bergman's films full of power, and clearly distinguishes Wild Strawberry from the surging and powerless pseudo-art. ..

"Wild Strawberry" is only 92 minutes, but it is complete without another shot. Bergman tried to reflect on human beings through the dream journey of characters, and then explored the real world inside human beings. Bergman's director and Oscar Rossard's screenwriter are both masters. A large number of facts remind us that the connection between personality and scenery is not even realized by actors. Every step of the journey brings new faces and new dilemmas-all of which point to the theme of the film: love, life, death and powerlessness.

In an interview with Jon Dona, Bergman said, "There are many problems I am trying to solve. Who am I, where am I from and why am I like this? " When Jon Doner asked if he understood these questions better after many years, Bergman's answer was: No, I understood them less than ten years ago. Although Bergman expressed his harsh self-doubt, it is not an exaggeration to regard Wild Strawberry as one of his best films. 1918 July 14, ingmar bergman was born in Uppsala, Sweden, into a Lutheran family with Danish descent. His father, Eric Bergman, was a priest and was later appointed as the court priest of the King of Sweden. When Bergman was born, his mother Karin was suffering from Spanish flu, so he was in poor health since childhood, and his family doctor even thought that he would die of malnutrition and not live long. Bergman was shrouded in a repressed religious atmosphere since he was a child, and his growth environment was very bad. Even wetting the bed was locked in a dark room and confined. 1938, Bergman was admitted to Stockholm University, but he did not complete literature and art courses, but turned his interest to drama and movies.

Although he grew up in a devout religious family, Bergman claimed that he lost his faith at the age of eight. It was not until 196 1 filmed Winter Light that he fully accepted this fact.

1975, after the filming of Face to Face, Bergman was suspected of tax evasion, investigated by the Swedish tax authorities and even arrested by the police. Although he was not prosecuted, he still deeply stung his sensitive nerves. 1April, 976, Bergman exiled himself, left Sweden and moved to Munich. Since then, he has waged a protracted struggle with the Swedish government and never wants to return to his motherland. It was not until 1982 that he returned to Sweden again and filmed Fanny and Alexander, claiming that this was his last film and announced his retirement from film. Later, he focused on drama creation, shot many TV feature films and wrote some plays. In 2003, 84-year-old Bergman directed the new film Sarah Bond, which was a new milestone for Bergman and symbolized farewell to his past works.

As a director, Bergman has a talent beyond wisdom, and he can often choose actors in an eclectic way. He believes that actors are psychologically fragile and need comfort, and he has a great responsibility to them. Some actors have formed long-term cooperative relations with him, including max von sydow, Bibi Anderson, Harriet Anderson, Erland Josephson, Ingrid Thulin and later Liv Ullmann. Every actor has worked with Bergman for at least five times, and has formed the greatest tacit understanding with him both in art and in character.

Another person closely related to Bergman's films is his royal photographer Sven Nick West. As early as 1953, they began to cooperate, and during their long shooting career, they developed an unconventional relationship. Bergman trusts Sven Nikwest very much. He never worries about the photography arrangement. He just talked with Nikvester briefly at the beginning of the movie in the morning, so that the photographer could understand what he wanted, never interfere with his work, and let Nikvester play freely. After Sven Nikvester's death, Bergman's film seems to be half dead, and he hasn't made another film for a long time.

Bergman's early films are rigorous and neat, while his later films are more casual. When talking about his later works, Bergman once said that an actor can improvise something that is inconsistent with his original intention. It's no big deal if he allows it. With the change of film concept, Bergman began to let actors participate more in film shooting. In his recent works, he even wrote some movie ideas, releasing the necessary scenes for the actors to play freely and complete the performance.

Bergman's films shine with the light of cold criticism, often examining existential issues such as morality, loneliness and belief, and never being mysterious as if there is no "content". From the narrative point of view, Bergman is also far from modernism. Most of his films are concise, direct, elegant, restrained and simple, which is quite different from antonioni's modernist narrative methods. Although some metaphors and symbols are used in films such as Wild Strawberry, Winter Light and Virgin Spring, they are clear and solid on the whole, which has made Bergman's own film road.