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Salmer fra kjøkkenet (2003)
Wonderfully simple film
Going into the showing of Kitchen Stories, I had no idea what to expect. I hadn't seen the trailer or heard anything about the plot of the film, and from the title I envisioned a generic, blandly heartwarming dramedy about Norwegian housewives. Thank goodness I was wrong! There is nothing bland about this film, although it does manage (almost despite itself) to be heartwarming. But there are no Norwegian housewives to be seen. Instead, Kitchen Stories is based on the premise of a Swedish firm studying the kitchen habits of single men, in order to design a more efficient kitchen. The plot itself is so Nordic—what other society would have the organizational power or the interest to study such an obscure topic? But even though this movie screams "Scandinavia!," it is definitely enjoyable for an audience of any nationality.
One of the most unique aspects of Kitchen Stories, and a hallmark of its director, Bent Hamer, is that all of the characters are old, stuffy white men. Despite the similarity of the characters' demographics, however, each one distinguishes himself through an abundance of personality. We have Folke, the law-abiding, uptight Swedish man who believes in the importance of his position as an observer of kitchen habits and whose idea of an exciting night is to gorge himself on the Swedish food his aunt has sent to him. Then there is Isak, the older Norwegian man that Folke is observing. Isak is silent and surly, but we soon begin to love him as he sabotages Folke's observations and begins to make observations of his own. He joined the study only because the promoters promised that he would get a horse if he participated—turns out that they meant a carved wooden horse, not a real one. There is also Folke's supervisor, who keeps tabs on all the observers in the area and makes sure that they are not breaking any rules by interacting with the subjects they are supposed to watch.
To protect the integrity of the study, Folke and the other observers are not allowed to interact with their subjects, even to say good morning or have a cup of coffee. These strict rules result in the hilarious picture of Folke sitting on a high wooden chair in a corner of Isak's kitchen, watching silently and intently as Isak walks to the cupboard, takes out an egg, and sits back down at the kitchen table. The sound of Folke's pencil scratching as he records Isak's every move, and the look that Isak gives him before leaving the kitchen and slamming the door, is where the true comedic value of the film can be found. This is a Nordic film, not an American comedy, and as a result there are no ridiculous antics or impossible circumstances, but Kitchen Stories uses its own brand of quiet, awkward humor that works wonderfully well.
Of course, Folke and Isak can no longer stand the pressure of seeing each other every day and not speaking, so slowly and carefully a friendship begins to develop, based on conversations about how Swedish food is different from Norwegian food and the health of Isak's horse. Isak's friend, Grant, is appalled that Isak has deigned to speak to the Swedish intruder and becomes jealous as he sees their friendship blossoming. The affection that these men have for one another is truly touching, mainly because the conversations they have and the coffee they drink together are the highlights of their simple lives.
Kitchen Stories is a superb example of how successful a simple, low-budget film can be. The actors playing Folke and Isak stand out in terms of their subtlety and attention to character details and portrayal of emotion. There wasn't one moment in the film where I became unconvinced of their characters' integrity. Bent Hamer has done an outstanding job in directing this film and lays emphasis exactly where it is required to show the strong emotions running beneath the calm surface of these stoic men's lives. The sparse cleanliness of Isak's house and the care with which he goes about his daily activities tells a lot about the kind of life lived by many older people in Norway, and his acceptance of Folke reminds us that older adults are still capable of forming new friendships, beating down their prejudices, and feeling love.
Because of its honesty and simplicity, Kitchen Stories has become one of my favorite Nordic films. At different points it is funny and touching, but always enjoyable. The only drawback may be a slightly slow pacing within the film, but I think that that is unavoidable considering the subject matter. I would not hesitate to recommend this film to anyone who can appreciate the smaller joys in life.
Så som i himmelen (2004)
Good but lacks emotional depth
I had high hopes for As It Is In Heaven; some of my friends had seen it and loved it, and apparently it is one of the most popular films in the world, running for 52 consecutive weeks in Australia and similarly impressive amounts of time in other countries. While I can see the appeal of As It Is In Heaven and appreciate its entertainment value, I wasn't blown away. There were several aspects of the movie that bothered me, most notably the one-dimensionality of the characters and the blatant emotional manipulation of the audience through music.
As It Is In Heaven tells the story of Daniel, an overworked, middle-aged orchestra conductor and professional violin player who is forced to retire after suffering a heart attack. He returns to the isolated Swedish village of his childhood where he ends up directing the local church choir and changing the way the town members think about music and themselves.
I was not impressed with the character development in As It Is In Heaven. Most of the characters seemed to be either all good or all bad. With the exception of Stig the church pastor, the characters were very one-dimensional: Daniel, the main character and eventual church conductor, was worn out and strange, but had good intentions, Gabriella was a complete victim of her husband's abuse, and her husband was portrayed simply as a completely out-of-control drunk who had no redeeming qualities. Often my favorite parts of movies consist of trying to figure out who is the good guy and who is the bad guy and being presented with contradictory information that makes that decision difficult. Flawed characters are easier to relate to, and add depth and complexity to films. It is also impossible to be surprised by a shallow character; everything they do is predictable, and I definitely found this to be the case in As It Is In Heaven. Stig was the most interesting character to me because he was unpredictable, and he displayed both good and bad characteristics.
The other part of As It Is In Heaven that really bothered me was the use of music to manipulate the audience. The major chords and tension resolution used in the music is an easy way to make an audience feel hopeful and uplifted—but I think that it is a cheap tool. I was emotionally affected by this movie, but I'm not sure that I would have been without the music. The use of music in theater or film always makes it easier to reach an audience emotionally, but it does not necessarily equate to great art. To me, the music felt like a calculated gimmick. I was always conscious of it throughout the film, and was completely aware that my feelings were being manipulated. I wish I could have gotten over the obvious fact that the music was messing with me, but I resented it throughout the film. That particular aspect of the movie made it really difficult for me to fall completely into the story, and I think it took something away from the overall experience.
These criticisms might make it seem like I hated As It Is In Heaven—which is completely not true. It is a very likable movie, and I did enjoy it. I'm not surprised that it ran for 52 weeks in Australia, but I am surprised that it hasn't yet broken out in the United States. I think some of the strengths of this film include the rural setting and beautiful scenery, the idea of a church choir bringing a community together and providing an outlet for people with a diverse set of problems, and the subtle love story. I really enjoyed watching the development of Daniel and Lena's relationship because it never became the main focus of the film and it was never entirely clear whether or not they would end up together. The issue of the validity of religion was also a strong aspect of the movie, although perhaps it is one of the reasons that As It Is In Heaven has not been successful in the United States. One particularly powerful moment is when the pastor's wife insists that there is no such thing as sin, and that it is something that the church invented so that they could save people from it. In this scene, you can see the panic her husband feels as he sees both his wife and community moving away from him and toward Daniel who is introducing new ideas and ways of life to the small, isolated town.
Overall, As It Is In Heaven is a very good movie, with a strong plot and great acting and directing. It is more mainstream than many other Nordic films and includes many aspects of Hollywoodization. Although it did not reach me on a deep emotional level, I found it very entertaining and would recommend this film to anyone.
Efter brylluppet (2006)
Powerful relationships in After the Wedding
I am not a huge movie watcher, and I don't tend to fall in love with the films that I do see, but After the Wedding might be my favorite film of all time. It has everything necessary to draw an audience in: a slightly unbelievable (and unpredictable!) premise, family tragedy, scenes in India, and a great ending that left me in tears. While I thought everything about the film, including the acting, directing, and cinematography was phenomenal, what really makes this film stand out is the variety and depth of the relationships found between the characters.
The first characters we get to know in the film are Jacob, a middle-aged but still very attractive Danish man living in India, and Pramod, a seven-year-old boy who lives in the orphanage/school that Jacob has helped to establish. Jacob has developed a deep relationship with Pramod, who has lived at the school since infant hood, and Jacob serves as something of a surrogate father to the boy. When Jacob leaves for Denmark to search for more funding for the school, Pramod makes him promise to return by his birthday. Jacob agrees, but their relationship becomes complicated as Jacob is detained in Denmark, missing Pramod's eighth birthday and breaking his trust. At the end of the movie there is a break in their relationship which causes Jacob a lot of pain, but is unavoidable.
Another interesting relationship explored in After the Wedding is that of Jacob and Anna. Through a series of coincidences, Jacob discovers that he has a twenty-year-old illegitimate daughter in Denmark who has been raised by her mother and stepfather, Helene and Jørgen. Jørgen is a wealthy man and is considering giving Jacob money to fund the school. He encourages Jacob to build a relationship with Anna and to reconnect with Helene after so many years. Anna knew that Jørgen was not her biological father, but she loves him as if he were because she has lived with him her whole life, and she is not sure what to make of Jacob. Jacob is furious that Helene never told him that she was pregnant, but also seems unsure of how to act around Anna. One scene in the film shows them sitting together somewhat awkwardly over dinner while Anna shows Jacob a photo album that documents her childhood. Jacob seems sad that he missed most of her young life, but you can see that he feels more of a connection with Pramod, the surrogate son he left in India, than he does with his biological daughter. She is an adult and has had Jørgen as a father figure for most of her life, so there doesn't seem to be a place for him.
The most complex and tension-filled relationship in the movie is between Jørgen and Jacob. At first, it seems as if Jørgen holds all the power: he is older, wealthy, and apparently figures out exactly who Jacob is as soon as they meet. Jacob, on the other hand, is just trying to appease Jørgen so that he can get the funding for his school. Jørgen is extremely manipulative, detaining Jacob in Denmark when he obviously wants to get back to India, and eventually stipulating that Jacob must relocate permanently to Denmark if he wants to get the several million dollars that Jørgen is capable of donating. We find out later that Jørgen is terminally ill and is only trying to assure that Helene and Anna will have someone to care for them after he dies, but until that information was revealed I was very suspicious of Jørgen's motives. Jacob realizes that he is being manipulated and is frustrated by Jørgen's behavior, but cannot bring himself to turn his back on the money that will save his school.
For me, the most moving part of After the Wedding was finding out about Jørgen's illness and understanding his motives behind the manipulation of Jacob. I was afraid that he meant Jacob ill or that he was going to do something bad to him, but in the end he just turned out to be doing what he thought was best for his family. Whether or not it truly was the best thing to do is open for interpretation. Watching Jørgen deal with the reality of his illness and sharing it with his family was one of the most powerful things I have seen in a film. It was jarring to realize that he had had pure intentions the whole time, was really a good man, and was going to die anyway while his family went on without him, possibly with Jacob in his place. After the Wedding is a refreshing reminder that there really are good people in the world, and that they will do almost anything to protect those they love. Great film!
Festen (1998)
Secrets and lies in Vinterberg's Festen
My first thought upon finishing Thomas Vinterberg's Dogma 95 film Festen was, "Wow, I'm glad my family isn't that messed up!" In this provocatively honest film, Vinterberg examines the inner workings of a family held together by little more than ties of violence and secrecy. Brought together for the patriarch Helge's 60th birthday, the members of the family find themselves trapped inside the lodge, subject to disturbing revelations about Helge's past made by Christian, the oldest son, who's twin sister has recently committed suicide. Christian accuses Helge of sexually abusing him and his sister during their childhood, and cites this as the reason for her death.
Festen is a complex film, its many themes (including abuse, racism, and denial), enhanced by Vinterberg's skillful direction in the Dogma 95 tradition and a cast of talented actors, including Ulrich Thomsen as Christian and Henning Moritzen as Helge. According to Vinterberg, Festen serves as a very obvious metaphor for Danish society, showcasing the Danish people's "petty-mindedness, claustrophobia, and drinking habits." As a member of a foreign audience, that particular aspect of the film was lost on me. From my perspective, the most prevalent theme in Festen is secrecy and deception, which works on many levels throughout the film.
The most obvious instance of deception is Helge's image as an upstanding family man. Before Christian reveals the information he possesses about Helge's past, we view the older man in a favorable light. He tells jokes, laughs a lot, and seems to enjoy playing with his young grandchildren. Even after Christian's speech, Helge's reaction is that of a reasonable, kind-hearted father figure. He doesn't blow up or throw Christian out of the house. Instead, pulling his son aside, he says quietly, "My memory must be failing me. What you talked about. I don't recall it at all." This moment is where Vinterberg uses deception at its most sophisticated level in the film: as a viewer, I was unsure whether or not to trust Christian and his allegations. Not only was Helge fooling his entire family; he was fooling me as well. Even Christian seems to become a little confused. After a long pause, he says, "Sorry, it's probably me who got it wrong," and seems to be willing to let the matter drop.
In addition to old family secrets, we see deception taking place among the staff of the lodge. Kim, the head chef, grew up with Christian and knows about Helge's abuse. Along with encouraging Christian to stick to his story, he convinces some of the wait staff to go into the guest's rooms and steal their car keys so that the family members will not be able to leave once they hear Christian's allegations towards Helge. He instructs the young waitresses not to tell the older staff what is going on because "they have pensions to think of." One of the most humorous scenes in the film occurs when the guests are attempting to call a taxi service from the front desk of the lodge, and Kim is shown on the other end of the line acting as an answering service informing them that "the line is busy. There is an eleven-month wait." It is not clear whether or not Christian is aware of the steps Kim is taking to ensure that he is able to take action against his father, adding yet another layer to the tapestry of lies woven throughout the film.
There are numerous other instances of secrecy throughout in Festen, with each new revelation putting a piece into the puzzle of what really happened years ago during Christian's childhood. During another memorable speech in front of the entire family, Christian reveals that his mother knew about the horrible acts Helge was performing on his children, and did nothing. Later, Helene, Christian's sister, reads a letter written by his late twin explaining why she killed herself, in which she references Helge's abusive nature and confirms Christian's accusations. At this point, Helge has no choice but to own up to his actions and apologize to the entire family, who now view him with contempt.
Once all the secrets are revealed, Festen loses much of its energy and ends fairly quickly. The plot is definitely driven by the numerous threads of lies and deception that weave in and out between the characters. Vinterberg kept me continually on my toes as I gathered information from each character and tried to figure out who was really telling the truth. As an examination of a troubled family's difficulty revealing unsavory events that happened long ago, I thought Festen was very successful. Most importantly, I found that the film accurately portrays the discomfort and distress people feel when their illusions about their relatives are shattered, which I think is something that happens to most of us as some point in our lives.