Daily Archives: April 15, 2013

BIFF 2013 #9: Love Is All You Need (Den/Swe/Ital/Fra/Ger, 2012)

Trine Dyrholm is Ida

Trine Dyrholm is Ida

BIFF19logoSusanne Bier’s romantic comedy drama is the best mainstream entertainment film I’ve seen in a very long time. The film is partly in English and partly in Danish so the subtitling will unfortunately put off a lot of the audience who would enjoy it if they took the plunge. Given that it features at least one of the stars of recent TV Nordic Noirs perhaps that will entice a few more converts. This isn’t art cinema, it’s a mainstream film that happens to include subtitles. If Slumdog can make it, so can this film – although it could do with a better title.

The film is completely conventional. There are still a few surprises in the way scenes play out, but this is a genre piece. The central character Ida, beautifully played by Trine Dyrholm, is a woman in her forties recovering from breast cancer and a mastectomy. Shocked to discover her husband (Kim Bodnia from The Bridge TV serial) in flagrante with someone from work, she has to get her act together to attend her daughter’s wedding in a villa in Italy owned by the groom’s father, Philip (Pierce Brosnan). She bumps into Philip, literally, in the airport car park. He’s a widower and a seemingly grumpy owner of an international fruit and veg company. You can probably make up the rest yourself. In the best traditions of the Lancashire weddings on Coronation Street, a lot is said and done or not done. So why is the film so wonderful? Partly it is the quality of the acting, partly the script (by Bier and her long-time collaborator Anders Thomas Jensen) but mostly, I think, it is the sensitivity of Susanne Bier’s direction. She can move a scene from the comic to the dramatic and back with such skill that you can’t see the join. Visually the film is stunning. OK, Sorrento is very photogenic but here the colours are pushed to the edge of being beautiful and nearly, but not quite, pushed over into kitsch. If I remember rightly, Susanne Bier studied architecture at some point and the use of the villa is fascinating with several shots, as per Jules et Jim, of the balconies in the morning as the characters come out to look at the sea. The titles of the film are enchanting. I’m not so sure about the music but that’s a minor quibble. In the international market some will be surprised to see a warm comedy from Bier after the success of a string of melodramas but one of her first big successes in Denmark was a romantic comedy (The One and Only in 1999 – which, since it stars Sidse Babett Knudsen would be worth a UK distributer digging out).

In a rather cold review Lesley Felperin in Variety says it’s a film for the middle-aged, which is probably true. But given that in the UK we have been offered a whole stream of films for older viewers, I would argue that this film is far better than the Marigold Hotels and Quartets of the last few years. Susanne Bier is one of the most skilled directors working in European cinema. Compared to Hollywood films (made in the US or the UK) this is a more intelligent and more grown-up romantic comedy drama than we are now able to get from the studios. It reminds us that many years ago we could go to see films by Billy Wilder, Howard Hawks or George Cukor – comedies with great actors and scripts with witty dialogue. What do we get now? Such films do still exist but they are confined to specialised cinema since Hollywood patronises its mainstream audience. Perhaps it needs Susanne Bier to show the studios how it’s done? I don’t really see why younger audiences shouldn’t enjoy the film and it needs to be recorded that Molly Blixt Egelind who plays Astrid, Ida’s daughter, the bride is very good and reminded me a little of Uma Thurman.

BIFF 2013 #8: A Highjacking (Kapringen, Denmark/Kenya 2012)

Roland Møller and Johan Philip Asbæk in Kapringen

Roland Møller and Johan Philip Asbæk in Kapringen

BIFF19logoTobias Lindholm must be currently one of the hottest screenwriting talents in Europe after his work on Borgen and The Hunt. Here he adds directing to his talents in a taut and utterly gripping account of the hijacking of a Danish freighter in the Indian Ocean. Lindholm’s script is an exercise in paring down the drama to just two locations – the shipping offices in Copenhagen and the ship itself. In Copenhagen two of the Borgen actors known to UK audiences, Søren Malling and Dar Salim, are in contact with the ship’s cook (Borgen‘s Johan Philip Asbæk), who the Somali pirates have chosen as a negotiating tool as part of a deliberate strategy. The pirates have their own negotiator, Omar, who speaks good English. He remains a mysterious figure throughout – what is his situation, is he being used against his will, or is it all an act? To counteract this the shipping CEO (the Malling character) recruits an expert negotiator played by a real Copenhagen-based security consultant. All the direct negotiation is in English.

The production was based in Mombasa and the ship itself was once hi-jacked so there is a basis of authenticity which is built on in terms of the script. These hi-jacking negotiations can drag out for weeks and months as time is always on the side of the pirates. The brilliance of the script is to emphasise the waiting but also to provide sufficient moments of increased tension and then release without resorting to the kinds of Hollywood conventions in a film like Argo. Lindholm opts to keep the emotional pressure built up in the families back home in the background, placing it instead on the CEO Peter and the decisions he makes. Malling plays the role very effectively. The whole negotiation process raises the obvious questions about the ‘uncaring capitalist ethic’ – how much is the shipping company prepared to pay, how long will they allow the suffering on the boat to continue? On the other hand, would paying too much too soon encourage the pirates to raise the takes? I don’t know the Danish government policy on hi-jackings but Lindholm keeps external agencies completely out of the narrative and that’s probably a good idea. I’ve seen some questions about the representation of the Somali pirates and it’s also worth noting that there are other crew members on the ship who are not given any real screen time. They too will have friends and family back home somewhere in India or South-East Asia. Someone needs to write a script about them as well. It’s probably asking too much of Lindholm to do that on this project, but it is something that Danish writers need to consider as they make more forays into global stories (not that other film industries are necessarily better at doing this, but Danish film and TV is on something of a roll at the moment).

This is a terrific thriller with not a wasted second. Johan Philip Asbæk is particularly good – I noticed that he had a personal coach to help him put on the pounds and a beard to make a convincing ship’s cook. With its Borgen stars to the fore this should do very well in the UK if Arrow can manage to promote it (and the Susanne Bier film) effectively.