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In Reply to: Well, I'm glad you just "let the film take you away" and don't posted by tinear on March 19, 2007 at 06:14:49:
I did let it sweep over me... enough so that I watched it again immediately with the commentary... which is when I started really thinking about it. Although things like his not being present in that first memory and being found guilty of guilt and reminded of forgiveness I noticed right away.During the scene of the strawberry gathering and the brunch someone (I think it was the twins) mentioned that Isak and his father were out fisihing (or on a boat) and wouldn't be back for brunch.
I don't know how curmudgeonly he actually was with the housekeeper. He was emphatic that he HAD to leave immediately by car but he was fine to make his own breakfast and pack his own suitcase, etc. Plus she stuck by him for, what was it? 30 years? and said that his day of being honored was the most important day of her life.
As for the power to influence his son... I don't know that this was really a theme in the movie (there certainly was no real talk and/or sightings of Isak's father) but being the product of a loveless marriage, a mother who died when he was 8 and a father guilt and self doubt (in personal relationships) ridden he certainly was influenced.
Anyway, a lot of really subtle stuff in this film and no claims that my interpretation is somehow objectively correct... but I do think it's possible and yes, I agree that being open to interpertation is a hallmark of great art. In fact I'd say it's rare that most artist's have all (or, someetime's any) of various post facto ascribed subtext's in mind when they make their art.
Don't piss on my shoe and tell me it's raining.
Follow Ups:
That's an important and accurate observation, I believe. Some offhand thoughts:Film is art. In all its elements. But, as I briefly argued with tinear (Brando v Neuman), I really wonder how important it is for a particular viewer to be able to read deeply into the "art" of it to derive great enjoyment, or even inspiration.
Did Bergman or anyone associated with him set out to make great art, to make films filled with particular nuance. I really doubt it. I think he is inspired by an idea, and then he improvises using the resources available; imaginatively, intuitively. The result is so personal, so representative of his idosyncratic make up as to evade analysis or criticism, initially, by its very nature.
Artists labor to "discover" their creations, and as often as not are as surprised as the observer when they read the content. Greatness comes when excellence for its own sake is pursued and revealed. In a moment or over a career.
I believe the primary purpose of film - of art - is to appeal to the senses. I think the artist knows and intends this. On balance this appeal must be sympathetic, otherwise one walks away. Only after the fact should one -artist or observer - legitimately wish to ascribe deeper significance.
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It hardly qualifies as "art" but, like many people, I wrote a fair amount when I was younger (mostly, mostly bad poetry) and to this day there are times when I look back on some of it and think... "Oh! That's what that meant!!" And that might change multiple times with the same piece.Also, I work with, for and around a lot of creative people (and a lot of director's) and it's funny to see say a music video that eventually gets posted on youtube and to read people's comments about what they think it's about or what the references might be, etc. and they're almost always different from what the director was thinking (or at least what was shared about the thinking).
About Wild Strawberries... the commentary track mentioned that the dreams were replications of IB's own dreams (that he had a knack for remembering them in detail) which could well mean that even as he incorporated them he didn't REALLY know what they meant.
Don't piss on my shoe and tell me it's raining.
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