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emily-berry
Reviews
Musta jää (2007)
You Won't See This One Coming
"Black Ice" (Kotwicais, 2007) is the story of a doctor, Saara (Outi Mäenpää), who at first seems to have a great relationship with her architect husband, Leo (Martti Suosalo). Then she finds out he has been cheating on her with one of his students. Later she finds out he has been cheating on her with a series of women even since they were engaged. She moves out and decides to take revenge on her husband and his new mistress. Saara ends up creating a fake identity as a psychologist named Crista, and befriends the other woman, Tuuli (Ria Kataja). Things quickly become complicated and twisted as the story evolves. Who is being honest? Who is wearing a mask (figuratively or literally)? In many scenes there is little or no dialogue, but tension and emotions are felt through the actors' eyes and the music. This suspenseful film is a great psychological thriller that will keep you guessing until the end.
While the story revolves around two women who love the same man, the man himself is not seen very often. This film focuses on the complex relationship between the two women, something you don't see very often in film, which is one of the reasons I like it so much. Both of the women are excellent actresses, bringing depth and emotion through the dialogue and possibly even more so in scenes without dialogue. When Saara attends Tuuli's karate class for the first time, there is a powerful scene were she stares her down from the back of the class. Everyone else has their eyes closed except Saara; you see her watching and waiting with such hate, contemplating what she will do to this woman who is sleeping with her husband.
In the beginning of the film Saara is innocent and shocked to learn that she has been betrayed. The viewer initially roots for her, but she quickly turns to manipulation and deceit to take revenge on her husband and his mistress. We are first introduced to Tuuli as the other woman, a dishonest cheater. However, as Saara gets closer to Tuuli and they become best friends, she becomes likable and sympathetic. This caught me off guard. You have reasons to both root for and hate both of the main characters. Tuuli is completely open and honest with Saara. Eventually it becomes hard to tell if Saara is pretending to be friends with Tuuli, or if she is starting to actually become her best friend. When she is talking to her husband about Tuuli, and he calls her "that chick", she defends her in a way, saying, "she is your girlfriend, not just some chick." You can tell she feels bad for Tuuli after she gets back together with her husband, even though that is what she wanted. In the end though when Saara finds out that Tuuli might be pregnant with her husband's baby, she takes advantage of her in a despicable way. Soon after, Tuuli learns the truth and is shocked to learn of her own betrayal. Their roles have essentially reversed, and both are left devastated.
I enjoyed the music in the film from the start. The score was written and performed by members of the Finnish metal band Apocolyptica. It was an interesting choice that I think worked out well. Often during scenes with no dialogue, the music gives you a better look at the characters' inner thoughts and feelings. I remember one scene in particular where this was effective. Saara and Tuuli are going ice-skating together, and appear to be two friends just out having a good time. However the music does not reflect this; it is serious and intense, reminding you that Saara has dark ulterior motives. The situation is tragic in multiple ways, and the music does well at reflecting the mood.
The way the characters evolved and changed throughout the story kept me engaged and interested throughout the film. The complexities and twists surprised me, and moved me in ways I did not expect. Some of the plot was not necessarily very believable, but if you allow yourself to go along with the story it will take you for an interesting and dramatic ride with several twist and turns. The director, Petri Kotwica, planned this film for six years; you can tell it was very well thought out. I did not think I would like this movie as much as I did; I thought it would be a typical love triangle story of infidelity. The acting, music, irony, and convolutions make it stand out as a very good film.
Hawaii, Oslo (2004)
Triumphant Tragedy of A Guardian Angel
Don't we all wish we had a guardian angel watching over us? The film Hawaii Oslo (Erik Poppe, 2004) explores this idea in an interesting way. The lives of ten different people in various tragic circumstances cross paths, centered around Vidar, a man who appears to be an angel. Vidar must try to stop the terrible things he has dreamed will happen, even if it means sacrificing himself. This film has something for just about everyone, with themes of love, loss, separation, brotherhood, and sacrifice. These themes come out through the plot, costumes, editing, and camera work. Before directing his first film, "Hawaii, Oslo", Erik Poppe worked as a cameraman; he clearly knows how to use a camera. The use of a hand held camera along with many close up shots makes the viewer feel close and connected to the characters, as though we are in Oslo with them. This is a film that can appeal to a wide audience, as it is relatable, touching, and entertaining. At the same time, those who love to pick apart film will find this one enjoyable, with many details and techniques to pay attention to.
The film hints, and almost directly states that Vidar is an angel. Throughout the film, he wears a long sleeve white shirt. Right at the beginning of the film, Leon tells Vidar, "You're my guardian angel", and finds a feather falling off of him. A few scenes later, we see Vidar look in a mirror that has wings decorating the frame. He turns his back and for a second it looks like he has wings. He also regularly predicts the future through dreams and knows intimate details about people he has never met. In the end, he supernaturally changes places with Leon, and a few more feathers float off around him.
All of the other characters (besides the delivery girl) seem authentically human, and all are in need of help. There are two sets of brothers in the film, whose lives have many compelling parallels. Within both pairs, the older brother is tougher and angrier, wears a red shirt, and wants to escape (from prison or from an orphanage). The younger brother is quieter, timid, and kind, wears a light tank top, and wants to stay where they are because of a woman (Asa or their mother). The older set of brothers, Leon and Trygve, have been separated for four years since Leon has been locked away in an institution and Trygve has been locked away in prison. The younger brothers, Mikkel and Magne, fear that they are about to be separated and "locked away" in separate orphanages since their father has died. Any viewer with siblings can probably relate to these characters, and understand their motivations. Both relationships are troubled, yet the brothers love each other.
The theme of separation is also seen between Leon and Asa, who have been apart for 11 years. They made an agreement to marry if they were both still single at 25, so on Leon's birthday they finally reunite. Both are nervous and hesitant, but both seem hopeful in following through with their promise. It is easy to root for them, as they are both charming and sincere. At the same time, Mikkel and Magne are reunited with their mother, who has also been separated from them for 11 years. Both of these reunions do not go smoothly at first, but by the end, both end in love and acceptance.
Another one of the themes in the film is death. Mikkel and Magne have recently lost their father. Mikkel believes he is to blame, but Vidar knowingly tells him it was not his fault. Although they don't know it, their mother has also just attempted suicide, but chooses to live once she learns of the fate of her sons. Meanwhile, Millon and Frode are devastated to learn that their newborn son has a rare heart defect that will kill him in a matter of days. This leads into the theme of sacrifice. When Frode learns there is a clinic in the U.S. that can perform an operation on their son for 900,000 kroner, he immediately goes home and sells all his worldly possessions. You can tell this is difficult for him, especially when he sells his prize guitar, but he is willing to give up anything to give his son a chance. A series of events leads to him finding a bag of money right when he has lost all hope. The couple agrees that they will take their chance with the operation.
Vidar, in turn, makes the ultimate sacrifice. As he watches the events of his dream unfold he realizes there is only one thing he can do. We see Leon get hit by the ambulance, but then suddenly Vidar appears in his place. Leon is unscathed, and Vidar's last words are to tell Leon "I love you"; it is quite touching and sad. It is a tragic yet triumphant ending as everyone has ended up exactly where they needed to be. This award winning film will leave you thinking. The complexity, art, intelligence, and meaning in this film make it worth watching more than once.