The Seventh Seal’s journey might have been several hundred years, but Wild Strawberries’ distance felt just as far, pushing into the memories and ghosts of the early-1900s, which, to the modern, vivacious youngsters in the film, might as well have been a millennia ago. In early 1957, he directed The Seventh Seal, and following at the end of that year came Wild Strawberries / Smultronstället. Though on first impressions they appear to be two starkly different films, it remains difficult to separate them, both in terms of their philosophical rigour and depth, but also in terms of their being products of Bergman as he approached middle age.īoth films are in the habit of looking back. Ingmar Bergman belongs to this exclusive club. Rarer still is the event of this happening in a single year. It’s uncommon that an artist produces a singular masterpiece, and increasingly rare the artist should create another work of equal magnitude that functions as that first piece’s shadow.
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