The Inheritance
(2003)
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The Inheritance
(2003)
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| Cast overview, first billed only: | |||
| Ulrich Thomsen | ... |
Christoffer
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| Lisa Werlinder | ... |
Maria
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Ghita Nørby | ... |
Annelise
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Karina Skands | ... |
Benedikte
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| Lars Brygmann | ... |
Ulrik
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Peter Steen | ... |
Niels
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Diana Axelsen | ... |
Annika
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| Jesper Christensen | ... |
Holger Andersen
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Ulf Pilgaard | ... |
Aksel
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Dick Kaysø | ... |
Jens Mønsted
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Sarah Juel Werner | ... |
Marie-Louise
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Linda Myrberg | ... |
Ung skuespillerinde (Young actress)
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Lucy Andoraison Hansen | ... |
Mira
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Eric Viala | ... |
Frederic Rousseau
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Valerie Quent | ... |
Frederic Rousseaus kone (Frederic Rousseau's wife)
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A young Danish man, Christoffer, lives a life of joy and happiness with his wife Maria in Stockholm. When his father dies his mother insists that Christoffer take over management of the family industry which is in danger of bankruptcy. He is torn between his chosen life and his sense of duty to his family and its past. When he chooses to step in as manager his family life and self-respect languish. Written by Peter Brandt Nielsen
"The Inheritance (Arven)" is the best look since "The Godfather" at the corrosive impact of family business where there's no boundaries between family and business.
The starting premise is strikingly similar to another Scandinavian drama, the Icelandic "The Storm (Hafið)," as in both we start off with a prodigal son happily and romantically involved abroad but forced back to deal with the patriarch's dramatic decision that has ever widening ramifications.
But whereas the first went off in psycho-sexual directions from a fishery, this Danish film stays realistically in the board room of a steel plant as much as the bed room.
Here, his wife is a Shakespearean actress and the Shakespearean references I caught are played up beyond "King Lear,"as the matriarch, a scarily formidable Ghita Nørby, whose role could be taken by Judi Dench or Glenn Close in an American remake, is a Lady MacBeth, and he's baited by a CFO with a pronounced Iago modus operandi, while the wife, the very moving Lisa Werlinder, is left to plead like Portia in "Julius Caeser."
Un-Hamlet-like, Ulrich Thomsen's manipulatable Christoffer plunges into decisions that succeed at high psychological prices for him and those around him, reminding me of the classic closing line of the adaptation of Henry James, "The Heiress": "I've learned from masters."