Early on, there's a memorable sequence where a horse-drawn hearse gets its wheel stuck between the curb and a lamppost. The horses keep pulling forward, the wheel comes loose, and a coffin is left exposed in an empty street. Someone approaches the coffin to find the person inside still alive – it turns out to be "Dr. Borg" (Victor Sjöström). It could be seen as symbolic, but I found it amusing, as did much of this stimulating drama. The story revolves around this educated man who is scheduled to travel to Lund the following day to receive an important award for his contributions to medicine. During the night, he wakes up his practical housekeeper "Agda" (Julian Kindahl gives a lovely performance), announcing that he’s driving from Stockholm instead of flying. She's annoyed and refuses to entertain this idea, but she does prepare his breakfast and pack his bag. It's at breakfast that his pregnant daughter-in-law "Marianne" (Ingrid Thulin) decides to join them. During the trip, it becomes apparent that she dislikes him intensely, and her directness is quite a shock. He readily acknowledges he’s a fussy old man, but this criticism really affects him. After stopping for gas at "Henrik's" (Max Von Sydow) garage, they pick up some hitchhikers—first a group of young, energetic people, then a couple who seem to enjoy being unpleasant with each other. As the journey progresses, their interactions prompt memories of his own life, including his son’s mother and the joys and sorrows he's experienced. It isn't until he arrives for the ceremony that he begins to re-evaluate his life, his viewpoints, and what is important to him. Sjöström is excellent; he really embodies the role in a way reminiscent of "Scrooge." He’s taken the path of least resistance emotionally for much of his life and now finds himself in an unrewarding situation that may be difficult to escape. Thulin also does well as the deliberately challenging woman who doesn't hold back with her criticism. There is plenty of humor—dark and playful—and we get a fascinating look at how destructive self-examination can be, regardless of age. As is typical with this director, questions about faith and God are present, but here they’re addressed by the characters rather than imposed on the audience, which makes this a more relaxed, if that's possible for Ingmar Bergman—and gentle—exploration of his spiritual ideas. The storyline is lively and engaging, and there are several other people woven into the story who provide opportunities to catch your breath. I think this may be one of my favorites from this filmmaker.

Source on TMDB