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Låt den rätte komma in (2008)
Critical acclaim seeps from pores of "Let The Right One In," but still dry
Vampires have taken the world by storm since the inception of the idea in the early 1700s. What started as folklore has become a central theme in much of today's media. From Dracula to Edward Cullen, we have seen many illustrations of what makes a vampire: blood lust and superb physical ability being quite common, with more imaginative depictions expanding the definition to include sparkling in the sunlight and lesbianism. However a wholly new version of vampire is conceived in Tomas Alfredson's 2008 film "Let the Right One In," or "Låt den Rätte Komma In" in the film's native Swedish.
Based on the novel of the same name by John Ajvide Lindqvist, "Let the Right One In" tells the story of two kindred spirits, one a vampire child and the other a tortured boy, who find comfort in one another, much as they may try to show strength through independence. The "children" experience great turmoil and triumph together, attempting to get through life as "others." Eli, the pre-teen vampiress' differences are pretty obvious – she drinks blood and cannot be exposed to sunlight. Thus, she needs to kill to survive. Oskar's desire to kill, both driven and invigorated by his social incompetence, makes him a perfect match for the troubled Eli.
The film found much success worldwide, even placing at number 15 on Empire magazine's 2010 list of the "100 Best Films of World Cinema." This success is likely due to the film's versatility, fitting into numerous categories such as thriller, romance, drama and coming-of-age. Those who enjoy gore and suspense will find as much pleasure in the film as those who seek an endearing (albeit creepy) pre-teen love story.
Not only is the film's story appealing to many, but it also provides broad aesthetic appeal, with its realistic though sometimes mangled characters, accurate and carefully planned sets, and chilling visual effects. The cinematography reminds me most of that in David Slade's "30 Days of Night" from 2007. Because many, if not most of the scenes in "Let The Right One In" take place in the dark, snowy Sweden, it looks very similar to "30 Days of Night," which takes place almost entirely in the black polar night that hits Barrow, Alaska every winter. The red blood against the white snow is another image that saturates both films, although less so in "Let the Right One In," which has gained critical acclaim for its more subtle use of blood and gore.
This film's color also contributes heavily to the appeal of its sets and general mise-en-scène. Most of the film is dim and monotonous in color, with only bright pops of primary colors red, yellow and blue. These colors often symbolize innocence and childhood, for example the Rubik's cube or the children's shorts and balls in the gym. The color red is often exaggerated more than any other, reflecting the blood that Eli needs to survive. The accentuation of color also stands out because of the sparse props in most scenes.
The music also contributes to the film's depth. There are certainly moments of eerie music and sound effects that help remind us of the subject matter on screen, but there are also very emotional melodies, highlighting the romance between Oskar and Eli. The music's deliberate use also makes it difficult to take for granted. It is not often used for simple background noise, so most dialogue stands out as there is nothing to distract from it. Because of these small details in the sound, both in music and text, I think this film would be far more moving to a viewer fluent in Swedish. There is much to be said for being able to listen careful, instead of reading. This is also true of the images. The striking visual details are much easier to notice and thus, more impactive, if you do not need to read subtitles.
As much as I have praised the film, this is from a purely critical perspective. I myself found the film interesting, but not outright entertaining or attractive. The most exciting piece of the film, to me, was its noted similarity to "30 Days of Night," a movie I thoroughly enjoy. The pacing, dull colors and lack of music however left me wanting more, instead of noticing all the little details as intended. It was absolutely a good movie in terms of success and creativity, but for American me, trained to fall for explosions and fast-paced drama, it lacked excitement. Because of this, I give the film a seven out of ten, getting points for all critical aspects, but losing quite few for entertainment value.
Miesten vuoro (2010)
Steam of Life sizzles to a calm
A naked man sits thoughtful on a wooden bench. He leans forward to scoop water out of a bucket, throwing it onto the scorching hot rocks. He leans back, the water sizzling into steam as he tells his slow and solemn story. You could almost imagine the story is just for you. The same man sits on a porch surrounded by nature. He continues to speak as mosquitos buzz around the camera. The buzzing is almost annoying, except you can tell that this is his life, this is his comfort zone, and you fall into it. Back in the sauna, he slaps himself repeatedly with vihta and sits back again, waiting for a sweat to break across his forehead. The steam almost escapes through the screen.
Vivid scenes such as this are the foundation of Steam of Life (2010), or Miesten vuoro. The film, by Joonas Berghäll and Mika Hotakainen, is a striking documentary, illuminating Finnish sauna culture through tales of the men who sweat for leisure. The men tell pieces of their stories, describing evolutions of broken to full lives and back again. Topics covered include childhood abuse, lost custody and visitation of children, prison sentences, love, aging, military service, loss, friendship, companionship and bear-ownership – yes, bear-ownership – among other things. There is not an issue passed over when it comes to sauna talk for these men.
It is more than just talking though. The men drink, cry and laugh as they tell their stories, sharing in a way that many thought they might never be able. As the film progresses, then men share the lessons learned from their anecdotes, and it all comes together near the end when one man sums up what Sauna culture fulfills.
"When I was younger, I thought you should manage everything alone
But later I realized that being alone is the hardest thing. Knowing that you don't have to go through it alone helps."
And that more or less sums up the point of the film, it seems, and the placement at the end would support this. The film tells us that life is meant to be shared, and for Finnish men, the sauna is where that happens.
While the stories are the core of the film, technical elements help to get the point across. I saw a noteworthy parallel between the editing of the film and the way the men told their life stories. The cycle follows as such: A man sits peacefully in a sauna. He slaps himself with vihta to improve circulation. He throws water onto the stones, and the sizzling breaks the peace, but it calms. And as soon as it calms, he throws water on it again. Every bit of water that hits the rocks makes the man sweat a little bit more, and relief comes as the steam relaxes his body. Once the man is done telling his story, the film cuts to a peaceful nature scene, underscored by music.
Where's the parallel? Well, in life, a man sits peacefully. He does what he can to improve his life. But then something happens and it breaks the peace. All the man can do is wait until peace comes again and brings relief. And then comes the music, which symbolizes peace in harmony – people coming together as they do in the end of the film to find common peace. The music is a respite from the funny, the sad, the infuriating. It is the point where men can come together and face their trials and triumphs as a community.
There are dozens of quotes in the film that further this idea of community, most coming at the end of each man's story. Starting at the beginning, some are as follows: "It's good that I can tell you." "We could cry together. I'm always crying alone." "I've always had empty pockets. Now I have my family and empty pockets." "But I just had to carry on, and you get the strength for it as you go along." "That's when I realized that love comes in different forms." "I have to take it one day at a time" "I always thought that life is ruled with rationale and theories and intellect and head
Then you lose your child, and there is no reason, it's all pure emotion."
So these men find solace in their discoveries, challenging as the outcome of each story may be. They find peace in community, family, perseverance and relinquishing control to emotion. The film does more than just display Finnish sauna culture. It teaches its viewers to learn from both these men and their experiences, but also their own experiences. It also shows that sometimes you have to be beyond the difficulties of life to find clarity and it may take a remote place of peace, like a sauna in Finland, to really get to that point.
I give this film an eight out of ten. It tells a great story, and a great many stories at that, and shows a part of life in a corner of the world that I didn't know about. It's educational, informative and interesting. The film accomplishes what it sets out to do, and if you are looking for a tranquil film that will make you think, you've found it. However if you're looking for an entertaining, light-hearted comedy, you won't find it in Steam of Life. You will simply find a couple dozen men pondering life – naked, mind you.
Musta jää (2007)
Psychological unease of "Black Ice" chills to the bone
Marital tension is not limited to any part of the world. Many couples experience problems that create stress and may lead to cheating. In his 2007 film "Black Ice," Petri Kotwica depicts a stereotypical cheating husband, however, he twists the story by adding a relationship between the hurting wife and oblivious mistress. The unique variation on this relatively familiar situation creates intrigue that transcends both language and culture, making "Black Ice" a captivating and edgy film for any audience, Finnish or not.
A unique aspect of Black Ice is how quickly the plot gets going once the film has begun. After a short burst of romance between Saara and Leo, secrets start coming out and the tension begins. In some ways, leaving out the general introduction to Saara and Leo's relationship leaves something to be desired. It makes it difficult to relate to Leo at all because we are instantly introduced to his faults as a husband. However, this is very effective in that it puts us entirely on Saara's side, and introduces us to the discomfort of relational tension. Our lack of information somewhat reflects Saara's unfamiliarity with her new situation having been betrayed and ultimately separating from her husband.
The genre of the film also contributes to the tension. While this story could be told through a simple drama or even romantic comedy, it is presented in the style of a psychological thriller. The characters are forced into uncomfortable and unusual situations that they press through given their unique circumstances. They face unwelcome friendships, relationships, sexual experiences, conversations, and more. Many people may struggle with the characters' actions, thinking that they, themselves, would deal with the situation more honestly as to avoid the deception and discomfort experienced, however the film does an excellent job of showing how very normal people can act wildly when put under extreme duress.
In addition to style and plot is the soundtrack. Cellist Eicca Topinen's experience with Apocalyptica shows through in her intensely emotional instrumental score, which drives the film's tension home. Slow, minor chords blend and create an uncanny sense of unease, which becomes more obvious as the film progresses. The first noticeable instance of this musical discomfort is when Saara finds and follows Tuuli, and as each secret that comes out, the eerie theme comes back, stronger and stronger each time.
While the whole film really supports the thrilling and uneasy impression, a few scenes are crucial. It starts with Saara finding the condoms at the very beginning. Her conflicting smile and admonition create a contradiction that sets the viewer on edge. This contradiction is further developed as we experience Saraa's ability to compartmentalize and create an intimate relationship with her husband's lover throughout the film. This ability to more or less let go of her emotions completely alienates her in addition toe the cheating Leo and Tulli.
Other particularly tense moments include Saraa's first interaction with Tuuli, the morning at Tuuli's home where Saraa and Leo nearly cross paths, the party where Tuuli confronts Lea, Saraa's attempt to examine Tuuli which turns into a homosexual sex scene, Leo's death, Tuuli's attack on Saraa at the martial arts class, and Tuuli falling down the stairs. And those are just the especially tense moments. This goes to show how many small instances of tension are interwoven between them.
One thing that the film could have done better was to organize some plot elements more cleverly. Tuuli seeing Lea and thinking it was Saraa, Saraa's restraining order keeping Tuuli out of the hospital, and sparring in the martial arts class all seemed fairly inevitable after the plot devices were introduced. While the setups were interesting and enthralling, they were at times predicable, which makes the film less fun to experience.
A final element that I especially liked was how this film exemplified the idea that if someone wrongs you, they should take the heat, not their ignorant accomplices. For example, Leo is the one who is cheating. While Tuuli is knowingly helping him commit adultery, she is not personally connected with Saraa and thus has no emotional reason to stop. This is what Saraa seems to realize as the film progresses, which enables her relationship with Tuuli to flourish.
Personally, I found the film impressive and exhilarating. The psychological thriller genre strongly appeals to me, as it makes you think about how twisted the seemingly ordinary human mind can be. No matter how much you think you can plan for life, you never know how things will actually transpire when they go south. While there are plot elements that could have been executed more cleanly, the film is representative of how realism can seem almost supernatural with the right circumstances, people and, in the case of film, music.
Hawaii, Oslo (2004)
"Hawaii, Oslo" illuminates the serendipitous world in which we live
Serendipity and coincidence are phenomena we experience every day in this strange world of ours. There are even songs about it – think "Ironic" by Alanis Morissette. No, a free ride when you have already paid is not ironic, but it is coincidental and surprising – just like a dozen or so people's lives colliding in the middle of the night in the middle of Oslo. That is the story of Erik Poppe's "Hawaii, Oslo," and through these moments of serendipity and tragedy, we are introduced to a host of tough spots, hard issues and happy coincidences that force us to question the concepts of fate and chance.
To tie these stories together with simple words would be a struggle – their stories are many- faceted and hopelessly intertwined. The story starts with Leon, who is waiting for Åsa, who crosses paths with Magne and Mikkel, who have a deep but mysterious connection to Bobbie, who forms a relationship with Viggo, who delivered the dying child of Frode and Milla, who, desperately seeking care, cross paths with Trygve, who is Leon's criminal brother. And to top it all off, there is the character Vidar, more or less an angel with premonitions that send him all over the city, encountering nearly all of the characters, in his search for Leon. Please, let me confuse you more. However, in the two hours it takes to establish and connect these stories, we get an overwhelming sense that these are normal people with normal lives in a very abnormal 24-hour period of time. The reason for this abnormality is fate, chance, coincidence, serendipity – nobody understands the concept quite the same way, but it that which makes the world so wildly unpredictable and brings about the miracles that some are so baffled by they can't help but attribute them to a higher power. Some people call it God's will – but maybe not the Norwegians.
So how do you convey so much anguish and excitement into just a couple of hours?
It starts with the plot. Without giving too much away, there are many plot devices that bring these people together. There is birth, death, illness, love, grief, suicide, promise, theft, desperation and a sense of the divine. There are posters, ambulances, hospitals, pills, churches, restaurants, parks, parties, pets and jails. Somehow, all of these people experience all of these emotions in all of these places together. And it connects them in a way neither they nor we can fully understand.
Then there are the technical aspects. The movie is filmed with a hand-held camera, which brings a reality to the characters' struggles and successes. It is almost as if the viewer is there with the people, experiencing their emotions and more, because we as a viewer know that there is so much more complexity to each situation than the individual characters can see. This simultaneously brings a sense of grandeur and simplicity to each scene, as we realize that the world is as complex as the film, and in every moment we experience, there are billions of other people having experiences around the world, many of which likely connect in some way or another to ours. There are countless connections happening every day to everyone and we simply don't notice because of our limited perspective.
Another element of the film that contributes to this sense of mystery is the music. To me, it sounds like a creepy birthday party – coincidentally, something that actually happens in the film. The whole thing is very suspenseful, hinting that things are relatively dandy right now, but they may not be what they seem, which more or less describes the lives of each of these characters; Things seem all right, until they are not. The quality of the music, a sort of conspicuous xylophone that you cannot ignore, perplexingly contributes to the realism as well. Because the music is so obvious, it is clearly an addition, something that could be tossed in to a documentary without distracting from the truth of the image.
Personally, I think this movie is not only entertaining, but also a very successful and thought- provoking film. It sets out to explore the idea of coincidence and how the world is so much smaller than we think, and it does so without being cheesy or unbelievable. It is suspenseful, yet not frustratingly so. And the film is unique – there are very few films that do such an incredible job of informing the audience, maintaining suspense and pulling so many different story lines together. This seamless merging of stories, themes and sensations helps the audience to focus on the deeper motifs of fate and coincidence and leave with contemplations stirring in their head.