We meet Isak sort of documenting his life. Keeping a journal. Seems his wife died a number of years ago and, though he’s pushing 78, his mom is still living (and pushing 96). Isak has a companion, though, his maid/housekeeper. She’s been with him for 30 years.

Isak is going to need to travel a long distance to receive an award. And though he originally decided to fly he changes his mind and decides to drive there – much to the chagrin of his maid/housekeeper. Before he leaves, though, he’s asked by his daughter-in-law if she can go with him. Why not? She’s beautiful and he needs someone to keep him awake while he drives. Why? Well, he’s having dreams. Not just any dreams but “DEATH” dreams. Dreams with all sorts of Bergman symbolism (like clocks with no hands and caskets opening and dread).

So we’re off on a road trip. Just the two of them. Before we know it they stop and visit a summer home where Isak first fell in love. With a gal named Sara. They picked wild strawberries and frolicked in the field.

We don’t see (or get) too much about his relationship or who was who because, frankly, I couldn’t tell if Ingmar had cast someone to play the old man when he was younger. So you get a lot of reactions by hot young actors interacting with old guy as if he’s hot and young.

While they’re traveling they decide to pick up a young blond gal (every woman in Sweden is hot and blond) and her two companions. Seems one wants to become a minister while the other wants to become an architect or something. This gives Ingmar the opportunity to ONCE AGAIN bring in discussions about God and Existence.

Back on the road they nearly get into an accident and though everyone is okay, they decide to take the couple in the car that crashed to the nearest auto shop. The married couple have some “issues” and the young gal with her two companions still can’t figure out which one she wants to marry. But she DOES confess that she’s still a virgin (I guess to get ménage a trios’ out our dirty minds).

At the gas station we learn a bit more about Isak. He’s been a doctor for 50 years and he’s still known throughout the region and we get Max Von Sydow (a requirement in ALL Bergman films – sort of like how Gerard Depardieu has to be in EVERY French film) and a pregnant wife giving him free gas to thank him greatly for “something that happened in the past.” We don’t know what that is (and we’re never told).

Since he’s in town, he decides to visit Mommy who is 96 and crotchety (but actually looks younger than Isak). Seeing her blond grand-daughter-in-law she talks to her a bit. When they get back to the car the three young companions are having “issues” as a fight has now ensued between the one who is an atheist and one who believes in God. What better way to discuss this than with “fisticuffs?”

They finally all get in the car and off on the road Isak has ANOTHER dream. Lots more symbolism this time with judges and juries and testing, but he does witness a rape of, I think, the woman that would be his wife by his brother or something – I really couldn’t figure it all out.

When he wakes up, his daughter-in-law confesses (while she’s smoking) that she’s pregnant and seems Isak’s son is a bit of an asshole and has demanded that she choose him or the baby. Since this is before Roe v. Wade I’ll assume that it was legal in the 1950′s to get an abortion in Sweden. But how am I to know? She is angry and frustrated though, about her situation (which also involves owing the old guy some cash – though he’s obviously well off).

Where are the youngsters? They’re picking flowers for the old guy and his ceremony. They want to show him their thanks.

They arrive at the cathedral for the ceremony and his dutiful housekeeper tells him to ‘get in his tails’ and his asshole son arrives. He tries to tell his son that he doesn’t owe him anything any more. But his son won’t hear of it and dismisses him. The three youngsters head to Italy but the blond admits she loves the old guy (oh and I think they sing him a song – please, Ingmar, WHY must you include songs?).

After talking to his son and his daughter-in-law the old guy goes to sleep and finds some closure in his life and is happy.

WHAT WAS WORTH THE JOURNEY:

The acting was good all around. A bit of over-acting here and there, but the old guy who played the main character was very good.

The story, though very basic, took some deep turns into the dream sequences and gave us some insight on what was going on. It was a journey of self discovery (as are most road trip films) and that was enjoyable.

WHAT CRASHED AND BURNED:

As much as I liked the actor who played the old guy – there was really no arc involved here. There are a number of people (his housekeeper, his daughter-in-law and I think it’s implied) talk about him being a jerk. Ungrateful, a dick. But…we never see it. If you’re going to have a journey of self-discovery and change shouldn’t you START with someone who needs to change? And, frankly, I don’t see it. It would have been great if he didn’t WANT to go on this trip, that he was above all these stupid awards and whatever and just let him die, but have the daughter-in-law force the issue and have him go begrudgingly – only to accept it all at the end and embrace it. Maybe that’s more “Hollywood” than the script should be – but I would have liked to have seen MORE change than just a: “You know, you don’t have to pay me any more.” (or something)

I could have lived without the three youngsters and their guitar.

Side note: One thing about watching a Swedish film is that the language reminds of the Swedish Chef on the Muppet Show AND they seem to talk FOREVER, though the sentence is short. You read the subtitle and they talk for another five seconds. Am I missing something? Or is Swedish really a language that uses 8 syllables instead of two.

SHOULD YOU TAKE THE TRIP?

Sure. I still think the film could have resonated more by having more of a character arc but, still – very good. And I would have liked someone to tell the asshole son to grow a pair.