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Showing posts with label Michael Nyqvist. Show all posts
Showing posts with label Michael Nyqvist. Show all posts

Sunday, March 10, 2013

Sunday Review: Mother of Mine and Teddy Bear

Marjaana Maijala plays Signe
Three painful mamas

By Morris Dean

Two of the last three feature films my wife and I have watched happen to have had very strong mother elements. I guess lots of films do, since mothers play a central role in most people's lives—hopefully not as painful a role as in the two films here reviewed.

Sunday, November 25, 2012

Always on Sunday: Henning Mankell's Wallander (Swedish TV)

Another week in which TV programs proved better than my sampling of feature movies, which included the following losers:
  • The Hunger Games (2012), a dystopian post-apocalyptic fantasy whose derivation from a young-adult novel might explain its appeal to teenagers,

Friday, May 25, 2012

My life is only mine

For all the slackness of its opening, the 2004 Swedish film that was nominated for an Academy Award in the Best Foreign Language Film category (As It Is in Heaven) deserved the nomination, if only for the glorious ending to which it ascended.
Så som i himmelene [As It Is in Heaven] (2004: Kay Pollak) [Successful international conductor Daniel Daréus (Michael Nyqvist, who co-stars in The Girl with the Dragon Tattoo) suddenly interrupts his career and returns alone to his childhood village in Norrland, in the far north of Sweden. It doesn't take long before he is asked to come and listen to the fragment of a church choir, which practises every Thursday in the parish hall. Just come along and give a little bit of good advice. He can't say no, and from that moment, nothing in the village is the same again. The choir develops and grows. He makes both friends and enemies. And he finds love (Frida Hallgren)] [EO] 5-23-2012
The ending is the kind of all-come-together-in-music moment that I think the impresario of American Music Week in Bulgaria would love—and love to see happen again and again during his AmBul festivals. (I speak of my son. Do watch this movie, Geoff!)
    As far into the movie as five to ten minutes (I didn't note the time), I felt bored and ready to try something else, but by the ten-to-fifteen-minute mark I was well hooked by what was becoming a solidly compelling story, as Daniel Daréus latched onto the possibility he saw in the church choir he was asked to come and listen to. In the course of a few weeks, he literally transforms not only the choir itself, but most of its members, who, in responding to Daniel's challenge to find their "own tone," learn even more about themselves and each other.

One of the members is Gabriella (Helen Sjöholm), whose husband (Conny) frequently beats her and becomes predictably jealous of Daniel (who finally realizes that Conny was one of the schoolboys who bullied him). In a stirring act of compassion and understanding, Daniel draws Gabriella out by composing a song for her to sing solo in their upcoming concert. Reluctant (even refusing) at first, she assents and her performance is greeted at first by a stunned silence in the awed audience before it breaks into thunderous applause.
    You can hear Sjöholm's performance on YouTube:



    My title comes from the song's lyrics, and I found an English translation of Gabriellas Sång (side-by-side with the original Swedish) at http://lyricstranslate.com/en/gabriellas-sang-gabriellas-song.html.

Daniel & Lena
However, Gabriella's Song is not the movie's ending. Nor is Gabriella the love referred to in the synopsis above (see picture at right). I believe that if you share my taste in movies at all you'll like this one very much and thrill at the joy it provokes.
    There is a spirituality to it, and I'm sure that many will consider the movie religious (the title, after all). But in some ways it's more anti-religious than religious. The pastor's wife (Inger) is so transformed by the truth she discovers by participating in the choir that she is able to tell her husband for the first time what a hypocrite he is.
    In misguided self-defense, the pastor gets Daniel ousted from his formal leadership of the choir—with the cinematically pleasing result that Inger moves out and the choir separates itself from the church.
    When the pastor asks Inger whether she will come back to him, she says she doesn't know. Maybe the following lines from Gabriella's Song catches where Inger is at this point:
I want to feel I’m alive
All my living days
I will live as I desire
I want to feel I’m alive

Wednesday, May 16, 2012

Leviticus again

I've changed my mind. I don't like the English version of The Girl with the Dragon Tattoo better than the original Swedish version—or not better than the extended edition, at any rate. As the blurb from Netflix (where I downloaded the extended edition yesterday) points out, "this complete version...restores notable characters and subplots from Stieg Larsson's...novels." What could be better than a sort of Masterpiece-Theater completeness in adapting Larsson's compelling stories? Or than Noomi Rapace as the girl? (Meant with no disrespect for Rooney Mara's portrayal in the English version.)
Män som hatar kvinnor [The Girl with the Dragon Tattoo] (2009 Extended Edition: Niels Arden Oplev) [Netflix: The extended edition of the trilogy contains more than two hours of additional footage not seen in the theatrical versions of the original Swedish films. Amassing a total of 9 hours of story content and presented in 6 parts, this complete version of the international hit series restores notable characters and subplots from Stieg Larsson's best-selling novels. In the first two parts, journalist Mikael Blomkvist (Michael Nyqvist) and computer hacker Lisbeth Salander (Noomi Rapace) team up to investigate the unsolved disappearance of wealthy Henrik Vanger's teenage niece, Harriet Vanger] [E] 5-15-2012
    Watching Dragon Tattoo again (my fourth time if you include the two viewings of the Swedish theatrical version and the English version) reminded me how crucial the Book of Leviticus is to the plot. Lisbeth Salander discovers its significance, and Mikael Blomkvist comments that it's the best clue they've discovered so far. The novel's way of using Leviticus underscores by connotation how pathological was the culture that produced Leviticus.
    And it underscores in turn how pathetic it is to base one's "principled" objection to gay marriage today on a selection from ancient Leviticus.