klefsaae Reviews

Reykjavik-Rotterdam (2008)

Edge of your seat thriller!

[9/10 · 19 May 2010]

What begins as what seems to be a calm conversation over a cigarette between three young men, the opening scene of Reykjavik Rotterdam, directed by Oskar Jonasson (2008), quickly turns into one of the young men frantically running for his life from his two cigarette "friends." Unfortunately, Arnor failed to escape the two bruisers and gets a good beating. The reason for his overly hostile reprimand is because of a recent botched smuggling of alcohol, a job given to Arnor from his brother in law and former alcohol smuggler himself and main character, Kristofer. Since Kristofer vouched for Arnor to do the job, he has feelings of guilt and a sense of responsibility for his brother in law and his well-being. Struggling for money and the fact that he is an experienced and savvy smuggler himself, Kristofer is suspiciously roped into coming out of retirement for another alcohol smuggling affair to Rotterdam by his wife's ex boyfriend, Steingrimur, who seems to have an ulterior motive for pressuring Kristofer into doing the job. To his family's dismay, Kristofer accepts the job and boards a cargo ship with old crew members that are in on the smuggling as well. The captain of the cargo ship is anything but happy when he learns of Kristofer's presence on his ship, and is determined to catch he and other crew members in the act. Back in Reykjavik, Steingrimur's incessant scheming begins to feel routine when finally his real motive is revealed; he wants Kristofer to get caught in the act of smuggling alcohol because he knows that if he does, Kristofer will be in jail for a long time and in Steingrimur's mind that will surely lead to his eventual rekindled relationship with his ex girlfriend, which he will stop at nothing to achieve. A couple shootouts and even more fairly ridiculous twists set the stage for the rest of the rest of the film as the plot begins to unfold.

Undoubtedly, there are various underlying themes beneath this Icelandic action-thriller. One of which is that of "class lines" and the vast difference between the "haves" and the "have nots". It is easy to see that Kristofer is struggling to make ends meet with a wife and two kids to support in addition to his criminal record of the past. Kristofer and his family already live in a very confined space and there is even a possibility of being evicted, in which case they may have to live with relatives, borrow money, or downgrade further yet regarding housing. On the other hand, Steingrimur represents the "haves" in this film. He is portrayed as a businessman type with money not being a problem in his life, and carries himself in a way that people will know that he is well off. Even more evident is his egotistical nature while at the same time has the ability to "kindly" manipulate situations in order to achieve what he wants. Although Steingrimur is better off monetary wise, Kristofer hands down has the edge in character. Even though both Steingrimur and Kristofer are criminals, Kristofer is solely in it for the money that is needed to support his financially struggling family, but the same can not be said for Steingrimur.

Another strong theme present in Reykjavik Rotterdam I believe is that of love, and how love can drive anybody to do things they normally would never do. Case in point: a successful person like Steingrimur would normally never plot to have his ex girlfriend's husband imprisoned for the sole and self-centered purpose of ending up with Iris. However, his love for Iris drives him to do more than just set up Kristofer. He lies, manipulates, and commits serious crimes, all in the name of love. This eventually leads to irony when, after going through all that trouble to have Iris to himself, he is the one who accidentally kills Iris in a heated rage after his intentions and actions are put into question. Equally as evident is Kristofer's love for Iris and his children. He loves them dearly, and as a man does not want to have to borrow money in order to support the people he loves. But, because he loves his wife and kids, he will do nearly anything is order to support them and simply be together as a family.

Overall, the film was very enjoyable to watch and see how the plot unfolded. Even better was the random comic lines and scenes that added another great aspect to the film, which along with the action and unique story line undoubtedly kept my attention throughout the entire film. My only caveat was that there were a few scenes as well as a twist that seemed just a tad bit unbelievable, but what's a movie without a little bit of over the top drama? It sure got sucked me in hook, line, and sinker. Other than that, I truly enjoyed the film as a whole and would definitely recommend it to anyone who enjoys a thriller with great acting, and not solely for international cinema guru's. 9 out of 10 stars.

Musta jää (2007)

A powerfully dark love triangle

[9/10 · 26 April 2010]

"I'm a psycho…psychologist", an eerie and ironic quote taken from the main character, Saara, in the dark and ever so strange love triangle story entangled in the film, Black Ice, written and directed by Petri Kotwica in 2007. Setting the stage for this dark and ominous film, Saara, a middle-aged gynecologist and supposedly happily married to her husband, Leo, says this peculiar quote the first time she meets her husbands apparent lover, Tuuli, after discovering intimate e-mails exchanged between her and Leo. Tuuli is a student of Leo's at an architecture school and is also a part time karate instructor, which Saara enrolls in order to do a little sleuthing of her own to see what kind of person the man she loves would cheat on her with. Throughout the karate class and unbeknownst to Leo, Saara takes on a new identity and becomes unexpectedly close friends with Tuuli, creating a complex web of half truths, lies, and deceit that puts viewers on the edge of their seat wondering when or if the intricate love triangle will come crashing down on Saara, Tuuli, and Leo.

Black Ice undoubtedly contains fantastic acting and powerful performances by all three main characters, which is key to the film's underlying themes and extraordinary storyline. Saara, played by Outi Mäenpää, plays a fantastically curious wife trying to figure out why her seemingly "good" husband is having an affair with a young student, Tuuli. Tuuli, played by Ria Kataja, is a seemingly bright, eager, and caring young woman searching for love and affection and finds it with her architecture professor, Leo. Martti Suosalo plays the role of Leo, whom is "happily" married to Saara and pleads his love for her which is seen in the opening scene of the film when Leo tells Saara how content he is being with her and how eager he is to be with her, and only her.

The reoccurring theme in Nordic film of infidelity is very prevalent in Black Ice, and in fact is at the center of the entire plot throughout the film. As stated above, Leo cheats on his wife, Saara, who is anything but happy when she finds out this daunting truth about her husband. To get "back" at Leo, Saara indulges in a one-night stand of her own, which only complicates things. Saara does this in retaliation to Leo's actions, and two wrongs definitely in this case don't make a right, but Leo is portrayed and lives up to the cliché that the man is the sole "bad guy" in situations like this one. This speaks to Petri Kotwica's writing and how he incorporates women as the "powerful" ones. Moreover, Saara and Tuuli are eventually seen throughout the movie as "equal". Kotwica develops both character's beautifully and has the patience to tell his story mainly through his fine actors and actresses, not through the film's images. For example, instead of Saara confronting Tuuli from the get go about the affair, the drawn out relationship between Saara and Tuuli gives the audience a sense of compassion and concern that women have for their most closest loved ones.

This brings up another strong theme apparent in the film; love. It is obvious that Saara loves Leo and will go to great lengths to confirm one hundred percent that he indeed is cheating on her. The strong emotion of love can blind a person from the inevitable truth and can cause people involved to do things and act a certain way that is very different from who they truly are. This is seen when the film reveals that Saara has a strong urge to kill Leo's lover, Tuuli. Undoubtedly, this is not a normal thought for a prestigious and moral doctor such as Saara and definitely not a part of her daily life and personal values. Interestingly enough, the majority of the plot focuses on the relationship and the blooming love between Saara and Tuuli.

In my opinion, an important underlying theme to note in Black Ice is the fact that under any circumstance, infidelity is wrong and can only end up badly for both parties. Leo learns the hard way that having an affair and cheating on your wife can only lead down a dark and lonely path to destruction. Being faithful to your spouse is of utmost importance, and anything short of being faithful is wrong and will inevitably lead to all parties involved being hurt.

Overall, I felt that the movie accomplished the goal of keeping it's audience entertained and on the edge of their seat. Mixing in multiple relationships with fireworks and surprises at every turn, I would give this film a 9.5 out of 10. The strangeness of the love triangle is one that is very different from films in the Untied States, and I truly enjoyed the character's development and how all the pieces ended up fitting together in the dark, love twisted film of Black Ice.

Elling (2001)

Elling review

[9/10 · 21 April 2010]

Elling, a gentle Norwegian comedy by Petter Næss, was one of my favorite Norwegian films. Nominated for an Academy Award for the best foreign movie-which was well deserved-observes the day-to-day rehab of two middle-aged men upon their release from the local mental hospital. They were roommates at the hospital, and the film follows them as they continue to be roommates n their assigned state-sponsored apartment in Oslo. The "couple" is forced to overcome their compulsions and phobias in order to learn and navigate in the real world in the most simplistic ways. As far as themes go, this is a very Nordic film. Petter brilliantly probes into mental illness, the welfare system, politics, and substance abuse, and family in a comical way that keeps the audience entertained, while still managing to make it mellow dramatic.

One prominent theme portrayed, which is greatly contrasted to that of the States and which I was thoroughly impressed by, was the welfare system. Elling, a prudish momma's boy scared to even cross the street played by Per Ellefsen, and Kjell, an outward oaf with an obsession of women but contrasted with a gentle soul played by Sven Nordin, are well taken care remarkably well. Rather than being bombarded with prescription drugs to cope, these two are put up in comfortable living quarters –which appears to come at no cost to the two. They are visited regularly by a social worker, Frank-played by Jørgen Langhelle, who assists them in developing these everyday skills, often through tough love, and monitors their progress. One of my favorite scenes is when Frank is teaching the two, mainly Elling, how to use a phone. Elling is terrified of the phone-probably much similar to a persons fear of heights or maybe public speaking- and refuses to pick up the phone when it rings, claiming his mother always handled the phone. Petter does a good job of making it comedic in the way he portrays this, using intensifying music and a series of cuts to show the length of time it took Frank to teach Elling this simple skill.

In probing into mental illness, Petter manages to avoid using any medical lingo to describe their illnesses. It is blatantly obvious that there is something wrong with these two, but Petter's reluctance to identify these issues keeps the characters human, and allows the audience to sympathize and connect more with the characters. Being a comedy, the audience is able to laugh WITH the characters rather than laugh AT them.

Elling and Kjell are merely oddballs given the chance to become less sheltered and function in everyday society. And as much as Frank is there to help them, the relationship developed and support given between the two is ultimately the focal point of their progress. Elling no longer has his mother, and so Kjell has replaced her as Elling's day-to-day contact and support. The relationship developed between the two has become their new families. And their dependence on each other is apparent, especially later in the film when Kjell is moving along quicker than Elling is, and there is a scene where Elling has a mini freak-out. He has this mini freak-out for fear of loneliness and losing his "family" again.

There are subtle references to politics throughout the movie. Elling is obsessed with Gro, a popular leader of the labour party. He is appalled when eating at his neighbor's, Alfons played by Per Christensen, house and Alfons' wife makes a negative comment about Gro and Elling gives her a piece of his mind. It was amusing to see how much he worshipped Gro, who along with Kjell, has somewhat replaced Elling's mother.

As the two progress and begin to get their feet wet in the real world, they begin to see the real world's terrors. There is a big change in their lives when they come across a drunken neighbor, Reidun played by Marit Jacobsen, in their apartment complex, who happens to be pregnant! This scene while relatively comical and over exaggerated, gives us an insight to the role drinking plays in the Nordic lifestyle. But anyways, Reidun is essentially the catalyst to the Elling and Kjell's separation and independence. Elling becomes infatuated with his alternate ego, The Sauerkraut Poet, and frequents poetry clubs.

One of my favorite Norwegian films, Petter Næss delves into Nordic themes-welfare system, mental illnesses, politic, family, and substance abuse- commonly portrayed in other Nordic films, while managing to do so in a comical manner that allows the audience to connect to the characters. His ability to gain sympathy from the audience, while also allowing them to laugh WITH the characters, rather than AT them is a major reason this movie appeals to me.

The Seagull's Laughter (2001)

Great film with even better laughter!

[8/10 · 12 April 2010]

In the early 1950's, following the death of her American serviceman husband, the tempting and stunning Freya returns to her native Icelandic fishing village, with nothing but old scores to settle. With several trunks of fashionable clothing and astounding tales of life in postwar New York, she turns the town upside down with her glamorous presence. Determined on finding another husband, she moves into the already cramped household of her grandma, insecure young Dodo, mentally challenged Ninna, her grandfather (when he isn't out on a fishing boat), and an intelligent and curious11 year-old Agga. Agga is suspicious to say the least, and sometimes downright nosey, of Freya from the moment she arrives but eventually her distrust gives way to fascination. When Freya has a passionate encounter with a man named Bjorn, an engineer and one of the town's most eligible bachelors, Agga helps iron out the kinks in the escalating romance. The drama that unfolds becomes the talk of the town, which eventually leads to all the women of Freya's extended family into unexpected dark territory. The stunning Icelandic setting gives "The Seagull's Laughter" a distinctly exotic sense of time and place that sets the mood for it's many themes and juicy plot.

"The Seagull's Laughter", directed by Agust Guomundsson, delves into multiple themes throughout the film, along with twists that keep you on the edge of your seat and a few sex scenes that combine to without a doubt keeps the viewers attention.

In my opinion, the many themes presented in "The Seagull's Laughter" are of great importance to every day life. Of these themes, the most important to note is the importance of family. Family is everywhere throughout the film, and the dynamics of this family in particular is what I believe is a main contributor to why I liked this film so much. Freya can be described as dark, mysterious, and one who thinks very highly of herself and she makes it known that her needs come before everyone else in the house. For example, when Freya first arrives at the house, she simply assumed that she would sleep in one of the rooms, and definitely not a couch or pull out bed. After a brief conversation, the grandmother decides to let Freya share young Agga's room. To say the least, Agga was not happy about this decision, which she made known to the rest of the house.

Undoubtedly, Freya is head and shoulders above the rest of the women in the small, Icelandic fishing village when it comes to beauty. Beauty is portrayed in this film in a variety of ways. Freya has a very elaborate and high-class style of fashion that allows her to stand out and become an attraction of sorts to the men of the village. One example that sticks out in my mind is when Freya is working at the pharmacy and drunk men continually come in for one reason beyond buying additional alcohol: to see and speak to the goddess that is Freya. Freya knows that these men are nothing short of drooling over her, and she absolutely, one hundred percent eats it up. Additionally, it is my belief that the she dresses up deliberately to attract attention from men. This speaks to her strong desire to find a husband, more specifically a rich one. For example, one of the first times Freya goes out in public, she wears a stunning dress in a bold shade of red. She seeks out a man, Bjorn, which appears to be of wealth and goes on to make flirtatious conversation with him. After a brief conversation, Bjorn and Freya go on a walk that eventually leads to them making love in the middle of broad daylight. The next day, Freya is eager to share her detailed and inappropriate story of lust and romance with her roommate and cousin, Agga. This shows how egotistical Freya is and her lack of judgment when it comes to censoring stories to young children.

Another interesting part about the film is the setting of the village and the film techniques used throughout the film. The weather seems to be dark and gloomy, which in my opinion is a symbol of the dark and mysterious character, Freya. Throughout the film, I was constantly awaiting Freya's next bold move. One example in particular is when a woman comes into the house ecstatic with anger and sadness regarding her husband's recent infidelity. Freya listens to her story, exclaiming that no man has the right to do that, and that there should be consequences for her actions. Sure enough, Freya sneaks out one night and sets fire to the mans house while he was sleeping, showing no remorse or guilt for her actions and goes on with her daily routine of pushing people around and constant stares from men all over town. An interesting technique that stands out in this film is that when Freya is on camera, her entire body is on screen, capturing her full beauty and presence.

Although this movie portrays a beautiful woman that gets away with literally anything, I still truly enjoyed the film. Rather than hating the film for the very same reason, I believe that anyone who watches this film, particularly men, will learn a valuable lesson when it comes to relationships with women. More specifically, to look past the body of a woman and see their true colors. I truly believe that any adventurous film-goer will enjoy this edge of your seat, dark, and twisted film.