Fish are overlooked in the world of classical music, and it must be said that Danish short films are also a bit overlooked when it comes to the realm of comedy. Helleflynder seeks to address that with an absurd piece which is played straight whether it is providing dark moments, puns, silliness, or just straight oddity. The plot is quite simple – a conductor has suffered a fatal accident on the eve of a big concert, and the organizer (Neils) has rushed a replacement in (Torben). When Torben starts to try and impose his own vision on the orchestra, Neils is concerned; however when that vision involves fish, then he feels the need to step in.
If the plot sounds absurd then that is because it is; but it makes it work because it plays it with a straight face while also loading up the film with enough laughs from different sources to keep it interesting. There are puns; physical comedy (an extended urinal visit); and of course there is just great dialogue around the narrative – with some very good and funny lines throughout. Technically it is well captured, but the strength comes from the playing of the main two. Köhnke plays it straight throughout, and his exasperation is funny, but it is the equally straight but unhinged Flygare that really makes it work. His delivery is comically odd – committed to his character and thus making the material work very well.
I wish the ending was stronger; the final shots were not as triumphantly funny as I had hoped they would be, and I felt the music over the credits was muted and too "normal" in the context of the ending. Still though, it tickled me throughout, and was smartly and absurdly designed and constructed.
If the plot sounds absurd then that is because it is; but it makes it work because it plays it with a straight face while also loading up the film with enough laughs from different sources to keep it interesting. There are puns; physical comedy (an extended urinal visit); and of course there is just great dialogue around the narrative – with some very good and funny lines throughout. Technically it is well captured, but the strength comes from the playing of the main two. Köhnke plays it straight throughout, and his exasperation is funny, but it is the equally straight but unhinged Flygare that really makes it work. His delivery is comically odd – committed to his character and thus making the material work very well.
I wish the ending was stronger; the final shots were not as triumphantly funny as I had hoped they would be, and I felt the music over the credits was muted and too "normal" in the context of the ending. Still though, it tickled me throughout, and was smartly and absurdly designed and constructed.