That icy metaphor is contrasted with the wild strawberries of the title. In the pivotal scene in which they are introduced, they are associated with youthful exuberance and sexual frission. There is something of the Fall myth in the way a kiss spills the basket of strawberries on the ground. Borg watches on as his crush is seduced by a rival, who is vibrant and flashy rather than solemn and wise. The scenario is repeated towards the end of the film, where Borg watches on as his wife makes him a cuckold. His magnanimous superiority has always made him difficult to relate to – a distant God among mortals. The women in the film prefer men who are less accomplished, perhaps even a bit foolish, but human.
It is a fabulous performance by Victor Sjöström, who has a dry kindliness about him which inspires sympathy even when he is being berated and judged for his grouchiness by his daughter-in-law and housekeeper. Bergman's use of memories and dreams to explore aspects of Borg's personality feels conventional now, but was groundbreaking then. Even so, the complexity of the character that emerges is still impressive. It feels like quite a modern film, even though it's half a century old.