But, a pair of eyes hangs from a clock without hands. Without anyone around, Borg moves in isolated anonymity. Bergman frames his dreamer against buildings, under an alcove, a distant figure consumed by the coldness of the vacant city facades. Borg wanders a deserted city street, with the buildings like preserved ruins, windows and doors boarded up.
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This first nightmare sequence balances a classicism rooted in silent Swedish cinema and an emerging European arthouse ethos, one that Bergman would come to define to a large/great/huge extent. He’s having a nightmare, “a weird and very unpleasant dream.” A spotlight, slightly too theatrical, illuminates his face. In Ingmar Bergman’s 1957 film Wild Strawberries, the ailing professor Isak Borg (played by pioneering Swedish actor, director, and screenwriter Victor Sjöström-an early hero of Bergman’s and no doubt someone with whom Bergman identified) lies down to go to bed.
“Recently, I’ve had the weirdest dreams as if I must tell myself something I won’t listen to when I am awake, ” – Wild Strawberries (1957)
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