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Så som i himmelen (2004)
A melodrama about music healing the earth
As it is in Heaven (Så som i himmelen) tells the story of Daniel Dareus, a world-famous composer who is forced to retire due to his failing heart. He returns to the village where he grew up, intending to lead a quiet life. However, a position as the choir director at the local church throws him into the midst of every personal problem the various choir members have. He teaches them to find their own voice within the music, freeing each person from their vices and woes. While it is meant to be a touching look at the power of music, the film transcends sentimentality to reach melodrama, losing the message in the process.
Daniel (portrayed by Michael Nyqyist of Millennium Trilogy fame) is a high-powered conductor, demanding and talented. He screams at his performers until they meet his expectations. His standards prove to be his downfall though, as he suffers a heart attack, forcing early retirement. He reminds me of a more refined version of the classic man-child trope—his childhood was absorbed by music, so he is finally able to look into pursuits such as swimming and biking. His looks of delight are genuine, but also just goofy. Daniel takes over as cantor of the local church choir and begins to train them into his ways. My liking of the film began to break down as early as this point; I found it hard to believe that a director with such high standards would so quickly be patient with the untrained villagers.
His road to success is impeded by several major blockades. First, each member of his choir has something holding him or her back. Lena, the attractive young blond, has trust issues due to a previous relationship. Arne is overbearing and obnoxious, willing to do anything to get the group together. Gabriella has a beautiful voice, but is stifled by her abusive husband. For each of these people, the choir is a place where they can begin to work past their problems and begin to heal. Gabriella is the most affected; she finally finds the courage to leave her husband and escape from the constant abuse. The other choir members take her in and protect her from the husband's raging. While it is nice to see each member working toward something, it is also clear that each character is an extreme version of something, almost to the point of being a parody.
Also pushing the choir together is the resistance of the church towards their improvement and popularity, a plot point that I find troubling. The general goal of religion is to spread and influence more and more members to come into the fold, seeking salvation. The church as depicted here is strict and exclusive. It seems that only people who meet a certain set of standards are allowed to even step through the doors. The pastor and Siv, an incredibly religious woman, become determined to excise Daniel from his position as cantor, because he is actually doing some good for the people of the town. Most churches are welcoming to seekers; they are just hurting themselves at this point. This contributes heavily to the overwhelming feeling of melodrama. The various reactions to the problems caused by the church and among the choir members are entirely over the top. The pastor ends up having a nervous breakdown, precipitated by his wife leaving him after he refuses to reinstate Daniel. She won't even talk to him and even appears to be catatonic.
Of course, all of these problems are headed toward resolution when the choir chooses to disassociate from the church and follow Daniel. Why? The healing power of music. There were far too many instances throughout the film of an argument being immediately followed by a group song. In a way, it began to remind me of Glee, where everything problem is solved by singing it out. And ultimately, a significant event at the end of the film seems to suggest that many of the initial problems will go unsolved.
There is clearly meant to be a message here about music, the emotions it evokes, and the power of a group of people. However, it is buried beneath layers and layers of cheesiness and extreme versions of characters. The film isn't absolutely terrible, but I definitely don't agree with the reviewers who really loved it. It had potential, but failed due to getting bogged down in the details. I give it 5 out of 10 stars.
Efter brylluppet (2006)
An Interesting Take on Family that Goes Unresolved
After the Wedding (Efter brylluppet, 2006) seems like it should be a large movie—it begins internationally, depicting issues like poverty and homelessness that affect millions around the globe. Quickly though, the focus zooms in on several people who are very closely connected though somewhat of an odd history, forcing the viewer to examine what exactly is required to love someone. Jacob (Mads Mikkelson) manages an Indian orphanage, but is called back to Denmark by a businessman to try and secure more funds for the orphanage. He is offered the funding, but of course there is a twist, made clear following a series of big reveals; Jørgen (Rolf Lassgård), the businessman, requires Jacob to remain in Denmark and begin managing some of the company. As Jacob is actually the biological father of Jørgen's daughter, Jørgen wants him close by to care for the family following his impending death. The film explores the ideas of control, love, and doing one's duty with an interesting take on what constitutes a family.
There are several aspects of control seen throughout the film. Jørgen, as a powerful businessman, is used to having people do his bidding. He also knows that he is dying, resulting in his necessary composure despite such unfortunate circumstances. Troubles arise when he tries to extend his control to Jacob, a man who is used to being independent. Jacob resists, feeling that Jørgen is trying to buy him, but gives in when he discovers the exact nature of the request. Helene is also trying to control the situation—she is understandably mad at Jacob for cheating on her, and initially tries to restrict his contact with the family and herself. She eventually sees his value though, leading to the next theme of the film: love.
After the Wedding contains numerous interesting relationships, mainly ones that aren't necessarily seen in many other contexts. In India, Jacob is especially close to one of the boys at the orphanage. He acts as a father figure to the boy, but is ultimately forced to leave and has to go back on promises made. The dynamic between the adults in the film is what is the most fascinating though; Jacob is Anna's biological father, from a previous relationship with Helene. Helene then married Jørgen in part to secure a future for Anna. Jørgen is dying though, and wants Jacob to be around to support the family. Jacob's connection to Anna is apparent, although awkward at first. When they first talk in his hotel room, the tension between them is almost painful to watch. Anna begins to open up to Jacob though, which eventually causes Helene to realize that she does still care for him. While she never answers the question about whether or not she'll get back together with Jacob, it's clear that the family cares for him and he is present in their lives.
The final theme is an exploration of what it means to do one's duty, especially in keeping with promises that were made. Jacob is the primary vehicle through which we explore this. He is forced back to Denmark to secure more funds for the orphanage, despite a strong desire to remain with the children. Once there, he puts up with a seemingly distant and eccentric Jørgen in the hope of keeping the orphanage open. Jørgen's obligation to his family drives him to find Jacob in the first place, and admit to himself that he must take action to secure their future.
The film makes use of many close ups, especially on the face and eyes. In a story so driven by emotion, it makes sense that this would be a focus. Frequently, the larger picture is ignored for a close look at exactly what each character is feeling at the moment. Their emotions are strong and complicated, so taking a moment to dissect them is really helpful.
I enjoyed After the Wedding, but it didn't grip me as completely as other films I've seen. However, I think the suspense of the reveal was ruined by the strange actions of Jørgen that led up to it. There were also times where I felt the stony faced acting could have shown a little more depth. I was also ultimately unsatisfied by some aspects of the ending—after so much build up, I feel the viewers deserved slightly more. The film presents interesting ideas, but the lack of resolution means that some of the impact is lost. It's worth a watch, but not one of my favorites.
Mies vailla menneisyyttä (2002)
A Successfully Odd Take on Classic Styles
Man Without a Past (Mies vailla menneisyyttä), directed by Aki Kaurismaki, is an inspiring tale of rediscovery and moving forward following amnesia, all wrapped up in a deadpan parody of classic crime fiction. When a man known as M (Markku Peltola) is attacked and left to die, he awakens with no memory of his previous self and has to forge a new life among a large community of homeless people. While this sounds like the plot of a typical drama involving the eventual triumph over hardship, visual gags and sonic incongruities make it clear that the film is actually a satire. This isn't to say that the film doesn't have feeling—it's just hidden by a lack of obvious emotion.
I can see how other reviewers have taken issue to the film. All of the performances are totally deadpan, with an absolute lack of emotion. The dialog is fairly minimal, creating many awkward pauses and meals eaten in total silence. However, this only adds to the comedic aspect of the story overall. The visual gags are obvious from the outset. When M is in the hospital after his beating, his face is so bandaged that he wouldn't even be able to breathe. The visual gags continue throughout; many times, characters are found staring off into the distance after saying something profound or generally emotional (all done, of course, without any change in vocal inflection or facial expression). A woman leaps into her lover's arms, to be held for about a microsecond, and a "rock band" forms composed of men wearing their Salvation Army jackets and button downs. The visual gags are emphasized by the music. A dramatic swelling of notes is accompanied by generally blank stares. The background songs are also frequently incongruous, such as choosing upbeat dance music to accompany a transition into nighttime.
As a comedy, Man Without a Past is free to play with the archetypes of classic crime dramas. There's the usual tough police officer with a tendency for softness. In this case it manifests as philosophical musings, but his observations have absolutely no connection to the situation at hand. There's the damsel (portrayed stoically by Kati Outinen), who is the object of our hero's affection. She is heartbroken when he has to leave to do his duty, calling him her "first love." Except in this case, she's not a fresh-faced young woman but a tired, forty-something volunteer at the Salvation Army. Additionally, the bank robber is incredibly apologetic and checks in to make sure he hasn't traumatized his victims too much. The use of archetypes and predictable actions could be boring, but the subtle twists that change the original type really adds to the humor of the film.
Nestled among the satire and parodies are a few touching anecdotes about how nice people really can be. In the homeless community in which M takes refuge, people share food and skills, helping each other build a life from very little. M shows up with no name and no past, but a family takes him in, helping him recover and feeding him, despite having nothing themselves. Similarly Irma, the Salvation Army worker, gives M clothing for free, saying that he can pay it back once he is on his feet. She also accepts a date with him, despite knowing nothing about his previous life.
It's easy for the casual viewer to dislike this film. It feels like the actors are reading from a teleprompter rather than acting, and the delivery of dialog is stilted and awkward. Many of the characters are just downright strange (and strange-looking) as well. It's a film that would probably never be made in Hollywood, due to its seeming non-appeal to American audiences. Its differences though are what lend it charm and creativity. Rather than taking the same tired plot of a flawed person undertaking a journey to rediscovery, Man Without a Past offers a new view on the situation. It mixes genres and various classic pillars of film, creating an interesting, multi layered story. Depending on the mood of the viewer, it can be touching, triumphant, or hilarious. I definitely recommend this film for anyone willing to try something just slightly different and off the wall.
Elling (2001)
A Nontraditional Buddy Comedy
Elling (2001), directed by Peter Naess, tells the quirky and occasionally uncomfortable story of two men who are forced to learn how to live a normal life after they move out of a government-run group home. Like a buddy comedy gone astray, socially anxious Elling (Per Christian Ellefsen) and simple-minded Kjell Bjarne (Sven Nordin) are placed in a welfare apartment until they can prove themselves capable of the real world. Elling spent his first forty years living a sheltered life with only his mother, who protected him from others. When she dies, he is placed in the group home due to his crippling anxiety. Elling narrates the terrors of unprotected city life and the editing clearly emphasizes his disorientation and discomfort. As men try to adapt, Elling begins to control Kjell and tries to limit Kjell's attachment to others for fear of losing him. Finally though, Elling develops relationships of his own and begins to cope with the outside world. The actors all give down-to-earth, believable performances that sell the film's most touching moments without going over the top.
When the story begins, Elling's narration shows us just how isolated and sheltered he is. The quick cuts between black screen and brief scenes of the government institution reflect Elling's confusion and anger with his changed circumstances. Additionally, Ellefsen (Elling's actor) is entirely stiff and awkward and shies away from contact. A particularly painful montage concerning practice answering a phone shows just how debilitating his anxiety is when it comes to performing simple tasks. The cinematography also excellently reflects Elling's loneliness and discomfort, such as a series of long and far shots in which Elling is the only person in focus. As Elling grows overwhelmed by people, he becomes dizzy, the visual blurs, and Elling goes down for the count. All of this sets the scene well for major changes down the road.
One thing Elling really succeeds at is making the viewer feel for all of the characters in turn. At times, it's almost possible to sympathize with Frank, the gruff social worker in charge of Kjell Bjarne and Elling. Frank has his job cut out for him in coaching the men on how the world works. In the aforementioned telephone scene, it's possible to feel Frank's frustration. Yes, he's harsh and impatient, but he does have a lot of seemingly incompetent people to watch out for. He's controlling but with the intent that Elling and Kjell Bjarne figure out real life and move on.
A major shift in Elling's outlook is that of controlling to caring. Elling initially tries to make Kjell Bjarne fill his dead mother's role. Their attachment from the beginning is one of necessity and need on the part of Elling. Kjell is stupid and easy to manipulate, so he is forced to do the grocery shopping and everything else that requires going outside. It was at this point I began sympathizing with others besides Elling. He becomes too paranoid to even attempt to adapt and tries to hold Kjell back from meeting new people. It's hard for people with no impediment to normal social function to imagine how challenging daily life can be for someone with severe anxiety, but Ellefsen (in my opinion) brings a lot of truth and accuracy to the role.
Luckily, the power of true friendship is finally able to lift Elling from his self-enforced solitude. One of the reasons Elling and Kjell bond in the first place is that their individual strengths make up for the weaknesses of the other. Elling over-thinks everything, but this makes up for Kjell's lack of higher reasoning skills. In contrast, Kjell hunts for connections with people and is fairly easy to get along with. Elling maintains his distance, but eventually begins to adopt Kjell's ease of making friends. Their interactions are frequently at odds, but it is only by challenging each other that they eventually reach some degree of success in the real world.
Elling is hilarious at times, painfully awkward at others, but overall is quite charming. The acting and the focus on character make the film what it is: a buddy comedy with a lot of heart. This quirky story about love and friendship is enjoyable at the surface level, but is also satisfying when analyzed further. I highly recommend Elling for casual moviegoers and cinema fanatics alike.