Norwegian screenwriter, producer and theater and film director Arild Brinchmann's mini-series made for television which he wrote, is an adaptation of a novel from 1929 by Norwegian 19th century author and teacher Olav Duun (1876-1939). It premiered in Norway, was shot on locations in Norway and is a Norwegian production which was produced by producer Ulf Fjoran. It tells the story about a housewife named Ragnhild and her husband named Håkon Dale who lives in a house at a place called Stavsund in Norway with their son named Hallvard and Håkon's parents named Didrik and Tale. Håkon has made plans which he has started to realize, but his father whom is unfavorably regarded by most of the people in the local community with the exception of his daughter-in-law, has begun carrying out his own plans which means more to him than his consideration for other people.
Distinctly and precisely directed by Norwegian filmmaker Arild Brinchmann, this quietly paced fictional tale which is narrated interchangeably from multiple viewpoints, draws a distinctly humane and increasingly dramatic portrayal of a Norwegian family's life and how crucially it is influenced by the acts of one family member whom is far more interested in getting his own wishes realized than seeing his son succeed. While notable for its naturalistic and atmospheric milieu depictions, reverent cinematography by cinematographer Arne Borsheim, production design by production designer Christian Egenar and costume design by costume designer Tulla Engø, this narrative-driven and dialog-driven story about contrasting human characteristics like compassion and cynicism, family relations, property, inheritance, hearsay, justice and people doing their utmost to create decent living conditions for themselves and their closest, which was made nearly five centuries after a 15th century German Roman Catholic named Heinrich Kramer's text called "Malleus Maleficarum" (1487) was published and which reflects upon questions in which there exists no definite answers and human resistance when faced with inhumanity, depicts multiple interrelated and perspicacious studies of character and contains a timely score by composer Ketil Hvoslet.
This somewhat grandiloquent, at times humorous and philosophical six hour and fifty minutes drama from the early 1980s which is set in the late 18th century in Norway and where a mother whom is regarded as more than an ordinary person becomes the intermediate in the relationship between the father of her child and her father-in-law and whom upon becoming aware that her dearest might be in danger begins to recognize the depths of her personality, is impelled and reinforced by its cogent narrative structure, substantial character development, subtle continuity, versatile examination of its central themes, masterful interplay, retrospective dialog, profound personification of heartlessness by a rarely profound actor, scenes between Ragnhild and Håkon and the revering acting performances by Norwegian actresses Britt Langlie, Merete Moen, Grete Nordrå (1924- 2012), Kirsten Hofseth and Norwegian actors Ståle Bjørnhaug and Espen Skjønberg. A literary, cinematographic and majestic character piece.
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