Norwegian screenwriter, playwright, producer and theater and film director Sverre Udnæs' mini-series made for television which he wrote, is an adaptation of a somewhat autobiographical novel from 1931 by Norwegian 20th century author and painter Cora Sandel (1880- 1974). It premiered in Norway, was shot on locations in France and is a Norwegian production which was produced by producer Kaare Klövtvedt. It tells the story about a person named Alberte Selmer who was raised by a district stipendiary magistrate and a housewife in Norway with her brother named Jakob, and who now resides in a hotel room at a hotel called Hotel d'Amirauthe in Paris, France where she has lived the last seven years and makes a living by working as an art model for a French painter. Most of her spare time consists of writing and being with friends from France and people who like herself has moved there and as much time as possible with her closest friend and compatriot named Liesel who is a painter and who lives with a Swedish sculptor named Eliel, but Alberte has unaccomplished ambitions which she is determined to realize and she has abandoned the thought of returning to her country of origin.
Distinctly and subtly directed by Norwegian filmmaker Sverre Udnæs (1939-1982), this quietly paced fictional tale which is narrated by the narrator and the main character and mostly from her point of view, draws an understatedly humane, retrospective and incisively literary portrayal of an expatriate nicknamed Albertchen who left her homeland to get away from something and become someone and how she experiences living with the freedom and independence she sought and gained in a foreign country, relates to her frequent memories from a childhood which has marred her significantly and her contradicting and omnipresent relationship with her bygone life. While notable for its distinctly atmospheric milieu depictions, reverent cinematography by cinematographer Odd-Geir Sæther and production design by production designers Guy Krohg and Sverre Andersen, this character-driven, narrative-driven and monologue-driven story about Norwegian cinema history and the mind states of an aspiring writer who lives for the present, is ingrained in the past, exists within her bilateral remembrances and current reality, strives to attain her fragmented and transient flashbacks and place them into a context and befriends a painter named Sivert Ness, creates through its interpreted dramatization remarkable scenes from the second part of a trilogy which is considered as one of the monumental works in Norwegian literature history and which was written in the interwar period by a renowned novelist who in the early 1900s in Paris, France was a student of painting under Norwegian 19th and 20th century painter and director of the State Art Academy Christian Krohg (1852-1925).
Released nearly three centuries after Théâtre Français got its official name Comédie Française, eighty-six years after Norwegian painter Oda Lasson Krohg (1860-1935) debuted with "Summer night by the Christiania fjord" (1886), seventy-two years after the International Women's Day was founded in Denmark, sixty-eight years after American social activist Anne Marie Jarvis founded the Mother's Day, the year after the first women's liberation march took place in London, England, the same year as the Women's Equality Day was initiated in America and a Norwegian physician named Aud Blegen Svindland said in an interview: "It is again my experience that women do not seek the easiest way out, but on the contrary that they are conscious about their responsibility." seven years before children born in marriage in Norway were allowed to have their mother's last name and nine years before a Norwegian musician named Turid Pedersen sang, in her inherent language, the words: " Maybe she lets him come with her even though she knows from before that there are only two things that can happen--for either he finishes and runs away in all hurry--or he will in love's name tie her down. Listen Marianne you do readily want to be free--so you can choose yourself which mud you would like to drown in " this audiovisual oeuvre which is inspired by the existing thoughts of Sara Cecilie Margareta Gjørwel Fabricius, depicts a profoundly introspective study of character and contains a great and timely score by composer Alfred Janson.
This charmingly romantic, consistently self-reflective, psychologically realistic and rarely interpretative four hour and thirty-nine minutes drama from the early 1970s which is set in France in the early 20th century during the First World War and where a sister from Northern Norway whose humanity is evoked when she recognizes the characteristics of her brother in other men, is introduced to a respectable and considerate Danish gentleman and teacher named Nils Veigård who holds the warmth she has been and is driven towards and sees the once unseen child within the now adult whom has veiled her wish for affection considerably, is impelled and reinforced by its fragmented narrative structure, substantial character development, rhythmic continuity, noteworthy use of dialog and voice-over narration, masterful character drawings, memorable scenes of Alberte and Nils in the gardens of Versailles, comment by Alphonsine: "It is beautiful to want to live for ones work, ones ideals, - but a woman is a woman." and the reverent acting performances by Norwegian theatre and film actresses Monna Tandberg, Kari Simonsen, Sossen Krohg, French actress Françoise Bertin, Swedish actress Yvonne Lombard, Norwegian actor Jon Heggedal and Danish actor Frits Helmuth. A diversely cinematographic, internally poetic and majestic character piece.
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