These are full of melancholy and nostalgia, as well as the hint of horror (including a jarring image of a baby’s cradle in the forest). She sits between them, deflating their debates with her youthful insouciance, and thereby bringing a blithe touch to the film’s philosophizing.Īndersson also plays Sara, the unrequited love of Victor’s youth, who appears in his memories. Eventually they pick up a trio of hitchhikers: two men angrily arguing over the existence of God and the woman (Bibi Andersson) they’re both pursuing. On the road, Victor is accompanied by his estranged daughter-in-law (Ingrid Thulin), whose emotional distance allows her to be honest about his callous, sexist ways.
Victor’s first dream is one of the classic sequences of mid-century world cinema. Edited according to the illogical rhythm of dreams – and a nice nod to Sjostrom’s own directorial masterwork, the 1921 silent film The Phantom Carriage – it’s the ultimate mortality nightmare. Victor’s first dream is one of the classic sequences of mid-century world cinema: wandering down empty streets, Victor observes a clock with no hands, a man with a horribly squinched face and then a horse-drawn carriage with a hearse. The film consists of dreams and reveries interspersed with a lightly comedic road trip, all woven together by Bergman with a deftness that’s nothing short of poetic. Isak Borg (Victor Sjostrom) travels to his former university to accept a prestigious honor, and along the way reflects on the various regrets of his long life. The bitter has not yet overpowered the sweet in this early film from writer-director Ingmar Bergman.Īging professor Dr.
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