By: Roy Stafford

Roy Stafford — Mon, 23 Jul 2012 08:11:32 +0000

In reply to Rona.

I take your point about Mads Mikkelsen. Perhaps my problem is that I associate him with roles in films like Valhalla Rising. I’m also guilty of making assumptions about Enlightenment scholars. The general point is, however, that he is the star actor. I don’t think you can say that Vikander is a star yet so he is the only one of the three leads with a star persona that at least potentially informs an audience’s reading of the character.

I want to see a follow up to this film which explores the consequences of Denmark’s anti-German stance in the 1790s and subsequent support for Napoleon – which eventually saw the break-up with Norway and the loss of Danish territory in Schleswig and Holstein. The politics of this period are fascinating but British/French cinema focusing on this period tends to go for action.

By: Rona

Rona — Sun, 22 Jul 2012 22:02:20 +0000

It was really well-made and engrossing – maintaining the balance between a romantic melodrama and the political thriller. Arcel co-wrote and directed Kongekabale (King’s Game (2004)) – modern story of political intrigue with Mads Mikkelsen’s elder brother (Lars – known to Forbrydelsen devotees as Troels from the first series) playing a ruthless spin doctor in government. I thought of that film whilst watching this one, because of their similarity in a desire to uncover how power changes ordinary people and how the aim of power is lost in the political manouevring. Mikkel Boe Følsgaard’s performance of the king was the central one, because its refusal to fall into unsympathetic cruelty or pathetic madness and instead walked a balanced line between them so that our sympathies couldn’t easily and simply fall to the two lovers Arcel, speaking at the Berlinale press conference, began by emphasising his interest in exploring Denmark’s own part in the Age of Enlightenment – and the story brings alive what the Age of the Enlightenment really meant – the difficulty of changing a medieval culture and freeing up power. Mads Mikkelsen, at the same press briefing, talks of Struensee moving from that position of idealist to dictator. There is a telling moment when Struensee, having abolished censorship, is forced to reintroduce it to protect his position and that of the queen from the rumours being printed about them and knows the implications of what he is doing. The film keeps all these ideas in tension so effectively through the characters through the expert performances. An aside – Louise Vesth, the producer, commented at the Berlinale that this project had circulated for years – a difficult one to make in a ‘small country with a small language’ – referring to the obvious difficulty in selling a Danish costume drama outside its own country potentially. Further evidence of the above comment in relation to the importance of Zentropa and Von Trier to the Danish film industry.

In addition, Alicia Vikander (a Swedish actor) and Mads Mikkelsen have important currency as pan-European stars. There is a nice contrast – paralleling the central characters disparity in experience – in that Vikander is a year on from being identified as one of European Films’ Shooting Stars whilst Mikkelsen appeared in a number of European productions (as well as notching up a Bond villain along the way). His work with Dogme director Susanne Bier on her phenomenal Elsker dig for evigt (Open Hearts(2002)) and Efter brylluppet (After the Wedding(2006)) show him playing men in particular crises and not entirely fitting within their own social settings (something on view in Struensee’s invasion of the world of the court). These characters are often, as played, powerful but not always in control of what they are doing or what is happening to them. I thought his ‘untidy’ and bigger physique helped to emphasise his role as the disruptive interloper which I thought the film shots were often trying to emphasise. He has worked last with Thomas Vinterberg, a founding member of the Dogme tradition, on Jagten (The Hunt) – hailed as a near masterpiece at Cannes this year and winning Mikkelsen the best actor award. Another boost for this small country and for the global currency of its films.

The link to the 2012 Berlinale press conference (part 1) is here: http://www.youtube.com/watch?v=mDdGHAGJyZ4 and part 2: http://www.youtube.com/watch?v=n9_XZaZICno.

Comments on: En kongelig affære (A Royal Affair, Den/Czech/Ger/Swe 2012)

By: Roy Stafford

By: Rona