Movie Reviews - 2010 postsFriday July 18, 2014
Movie Review: A Somewhat Gentle Man (2010)
I checked this out because I was so impressed with the later Hans Petter Moland/ Stellan Skarsgård collaboration, “Kraftidioten,” but “A Somewhat Gentle Man” (Norwegian: “En ganske snill mann”) didn’t quite work for me. Despite its great title, the dark humor is slightly off, its secondary characters aren’t as memorable, and then there’s the ick factor.
The ick, by the way, isn’t about violence; it’s about sex.
Skarsgård is excellent as Ulrik, a pony-tailed mob enforcer who, as the movie opens, is being released from prison after 12 years. A friendly guard offers him a bottle of booze and a piece of advice: Keep moving forward; don’t look back. So what’s the first thing Ulrik does when he steps out the gates? He looks back.
Not with animosity. If anything Ulrik seems stupefied, and it takes us a while to figure out it’s no pose. He was once a man who could kill without thought, but now he’s a man who doesn’t have many thoughts. Mostly he’s interested in going along to getting along. To a cringe-worthy degree.
At a café, he meets his old mob boss, Rune Jensen (Bjørn Flobert of “Kitchen Stories”), and the gum-chewing, matter-of-fact but argumentative assistant Rolf (Gard B. Eidsvold), and the former sets him up with a place to live, a job, and an assignment. The place to live is with Rune’s sister, Karen Margrethe (Jorunn Kjellsby), an ugly, unpleasant woman who sticks Ulrik in the prison-like surroundings of her basement. The job is at an automechanic’s garage, run by Sven (Bjørn Sundquist), who talks out subjects in long run-on sentences, and who warns Ulrik away from his secretary, Merete (Janikke Kruse), a pretty but severe woman. And the assignment is to kill the guy who sent Ulrik to jail 12 years ago.
So what happens? He winds up rejecting the assignment but sleeping with the woman. Not Merete; Karen Margrethe. That’s the ick factor. Imagine Billy Crystal sleeping with Anne Ramsey in “Throw Momma from the Train” and you get an inkling. Then times it by three.
First, Karen Margrethe brings him a television set, which he adjusts to get a Polish station; then crappy dinner leftovers; then increasingly elaborate dinners as her interest is piqued by his lack of interest. Finally, she steps out of her voluminous underwear and lays down on the small bed where he’s watching TV and tells him to get on. He does so dutifully. Not many movie scenes are tougher to watch.
Then it happens again. And again. Each time, you’re waving your hands in surrender: “No ... no!”
The world—and other women—act upon Ulrik as well. Merete’s former husband shows up at the garage and acts like an asshole; Ulrik watches. Ulrik’s ex-wife (Kjersti Holmen) tells him his son has disowned him, then asks for a quickie; he obliges. The son, Geir (Jan Gunnar Røise), finally meets the father, but without emotion, and introduces him as his uncle to his pregnant wife; Ulrik nods and goes along with it. Meanwhile, whenever he takes out a cigarette he’s told he can’t smoke there.
But slowly he begins to break out of his spiritual prison. Sven has a heart attack and asks Ulrik to watch the garage, where the ex-hubby shows up and beats on Merete until Ulrik headbutts him, takes him outside, warns him against hitting women and children, then breaks both arms. Merete is slowly grateful and, in passive-aggressive fashion, seduces him. But Karen Margrethe suspects, gets jealous, rats him out. All the small things Ulrik had slowly built up crumble, so he agrees to take back the assignment to kill the man who sent him to prison. But will he go through with it? Can he still kill without thought? Without conscience?
The ending is nice—standing outside at the salvage yard, enjoying a smoke, talking up the coming spring—and, again, Skarsgård is perfect in the role. You buy him as both acted upon and actor; as stupefied and smart. But the tone of the humor is either too loud (Sven’s run-on sentences) or too soft (the no-smoking bits). A few years later, with “Kraftidioten,” Moland gets the tone perfect.
Movie Review: 30 for 30: The House of Steinbrenner (2010)
Anyone who knows me knows I’m no fan of the New York Yankees; but even they, the team named after a masturbatory gesture, that added “Suck” to the baseball lexicon, those overpaying, playing-field-tilting, star-grabbing 1% bastards of Major League Baseball, even they deserve a better documentary than this.
It’s a muddled movie. It was filmed in 2008, when the Yankees played their last game at Yankee Stadium, and in 2009, when they moved to New Yankee Stadium and won their 27th World Series title, and in 2010, when George Steinbrenner, the owner of the club since 1973, the Mouth that Roared, finally died after a long illness; and during these years the team is at a kind of crossroads. Is New Yankee Stadium for fans or corporations? Will the winning tradition continue? The old is dying and the new cannot yet be born, and in this interregnum Barbara Kopple filmed “The House of Steinbrenner.”
It doesn’t help that Kopple, a two-time Academy Award winner for “Harlan County U.S.A.” (1976) and “American Dream” (1990), is a Yankees fan. ESPN’s 30-for-30 docs begin with the filmmaker talking about why they were interested in the subject. Here’s Kopple:
When I was a kid I went to Yankee games with my brother and my parents and how could I not want to make a film about the Yankees? I mean, the Yankees are the biggest sports entity in the world. And I think what really made me want to do it is I was home and watching the All-Star Game. And I saw George Steinbrenner going around in a golf cart. He starts to cry. And I just thought, “This could be an amazing film.”
It isn’t. It’s tough to tell the story of something you love. Love is about not seeing clearly. That’s its point.
The stupid shit Yankee fans say
“The House of Steinbrenner” begins in triumph with the Yankees’ 27th World Series title and a ticker-tape parade through Manhattan. We get shots of the Yankees on their floats: Nick Swisher rocking out like a rock star, Alex Rodriguez, as always, too self-aware, Derek Jeter looking up at buildings as if he’d never seen them. We get sound-bite interviews with fans whooping it up and saying the stupid shit Yankee fans say:
- “The world is back to normal. Because the Yankees are champions of the World Series!”
- “The Steinbrenner family is the greatest owners in sports! New York fans are the luckiest cause they’ve got the Steinbrenners, who spend money so we can have parades like this! Let’s do it again!”
Then we get the sadness and nostalgia of the last game at Yankee Stadium, the House that Ruth Built, and the excitement and disappointment (expensive seats; obstructed views) of the first day at New Yankee Stadium. We get a lot about George but little from George, since, by this time, the illness that would take his life in 2010 had rendered him mute. We get a really nice line from one of the New York scribes:
He’s not George anymore. He’s a quiet man in his twilight and looks at the scene from afar now.
Meanwhile, Hal Steinbrenner, heir apparent, comes off as a tight-lipped, bristly CEO. He comes off as a numbers man. He’s someone desperate to make sure the mask doesn’t slip.
Fudging Yankee history
It doesn’t help that the doc fudges Yankees history. Early on, Kopple asks various folks, “What’s your favorite memory at Yankee Stadium?” and we hear three answers:
- Louis Requena, official photographer at Yankee Stadium, says, “Maris hitting that big homerun. You know?”
- Yogi Berra, catcher and philosopher, says, “I gotta say the no-hitter. That Don Larsen pitched.”
- George Steinbrenner, circa 1998, says: “’77/’78, great teams. I can remember plays. I remember Piniella’s play in right field, one of the greatest defensive plays I’ve ever seen. Couldn’t see the ball. Stuck his glove out—boom. It hit. Against the Red Sox. The playoff.”
What’s wrong with these answers?
Perspective on the Maris homerun would’ve been nice: the fact that Yankee fans spent 1961 booing Maris because he wasn’t Mickey Mantle; the fact that hardly anyone showed up for the last game of the season when he was sitting on 60.
The Yogi thing is simply semantics. I can guarantee you that almost every baseball fan watching muttered underneath his breath, “Perfect game,” every time Berra said “No hitter.”
Then there’s Piniella’s catch. As soon as Steinbrenner mentioned it I saw it in my mind. Bottom of the ninth inning, Sox down 5-4. With one out, Rick Burleson draws a walk. Then Jerry Remy hits a line-drive to right field. What we don’t know is that Piniella has lost the ball in the late-afternoon sun. We don’t know it because he pretends he doesn’t. He pretends he’s about to catch it, and this keeps Burleson close to first. And then Lou’s lucky. The ball drops five feet away from him and he stabs at it with his glove and keeps Burleson from going to third. So it’s first and second, rather than second and third, when Jim Rice flies out to deep right. Burleson can only tag up to third rather than home. He doesn’t tie the game. Then the great Carl Yastrzemski pops up for the final out and the Yankees win and go on to win the ALCS and the World Series—their 22nd.
Except that’s not the highlight they show. The highlight they show is the catch in the bottom of the 6th when, with two on and two out, Piniella went into the corner to rob Fred Lynn of extra bases. It’s a nice catch. But I’ve never heard anyone say Piniella lost that one in the sun. So … did they show the wrong clip? In a documentary called “The House of Steinbrenner,” while relaying George Steinbrenner’s favorite moment at Yankee Stadium, did they show us the wrong moment?
But the history that’s mostly fudged isn’t from Steinbrenner; it’s about Steinbrenner.
Memories are short, the man is dying and then dead, so the encomiums come fast and furious. We get eulogies. Fans remember ’77 and ’78, and the late ‘90s dynasty, and forget the years in the wilderness. They forget that Steinbrenner’s desire to win got in the way of winning. He was too impatient, and, as a result, under his watch, the Yankees went pennant-less (15 years), and without a World Series title (18 years), for longer than at any time since the team bought Babe Ruth in 1919. And, it could be argued, and has been argued, that they only won then, in 1996, because Steinbrenner had been banned from Major League Baseball in 1990 for hiring a private detective to tail his superstar outfielder Dave Winfield. As a result, for two or three years, he wasn’t around to muck up the works. He wasn’t there to trade prospects like Derek Jeter, Mariano Rivera and Andy Pettite for an aging star or utility player. Thus Jeter, Rivera, Pettite stayed. And they became the core of that 1990s dynasty.
The fans blame Hal for the problems of New Yankee Stadium, but that was George’s baby. We get a clip of him in 2002, talking. “You hate to think about moving away from that great stadium,” he says. “But we do have problems: all the new stadiums coming. We have new generations of people coming. That maybe that stadium doesn’t mean as much to them.”
Right. Steinbrenner was more interested in the profits a new stadium and its corporate boxes could bring than in the grand tradition of Yankee Stadium. The Yankee organization put profits before tradition, then went out and bought a bunch of players and won in their first year at the new ballpark. Since? Bupkis.
Is this the new curse? Old Yankee Stadium cursing New Yankee Stadium? Let it be so.
There are people and there are assholes
At least the scribes get George right:
- Bill Gallo of The New York Daily News: “He was vain. He was at times rude. He reminded me of a Prussian general: General von Steinbrenner.”
- Maury Allen of The New York Post: “He thought the loss of a game in June was the end of a season. … He loved the ego gratification of what the Yankees is all about.”
George, too, gets George right. “There are major league ballplayers,” he says, “and there are Yankees.”
Man, that’s an asshole thing to say. “The House of Steinbrenner” is a documentary about such assholes, directed by a woman who loves them so.
Movie Review: Les femmes du 6čme étage (2010)
Is there no culture, no matter how free and sexy it seems to outsiders, who don’t see themselves as uptight and staid and in need of the wildness of another, generally more southern culture?
So as the British did with Italy in E.M. Forster’s novels and subsequent Merchant-Ivory films, and as Americans do in the Caribbean, getting their groove back, etc., so the French, in “The Women on the 6th Floor,” turn to Spain to shake off the shackles of their deadening, monetized, neutered civility. And they don’t even have to leave Paris to do it.
It’s 1962, and Jean-Louis Joubert (Fabrice Luchini) and his wife Suzanne (Sandrine Kiberlain) live in relative luxury in an apartment in Paris. He’s a successful, genial stockbroker, she shops and complains. But right before the movie begins, his mother dies. Apparently she ran the household with the help of a longstanding, dour French maid, Germaine (Michèle Gleizer), who in effect raised their kids, now off at boarding school, and over whatever objections Suzanne had at the time. But: queen is dead, long live the queen. Suzanne and Germaine now clash, Germaine leaves in a huff (or on a bender after some Malaga wine from the Spanish maids on the 6th floor), and in the next shot there are dishes in the sink, the refrigerator is filthy and M. Joubert has no clean shirts. What to do? Mme. Joubert is at a loss. But her pick-a-little, talk-a-little friends suggest the latest thing: a Spanish maid. Apparently Mme. Joubert doesn’t know a whole passel of them live on the 6th floor of her building, so she goes to the local church and picks out Maria Gonzalez (Natalie Verbeke), who 1) lives on the 6th floor, 2) is newly arrived from Spain, and 3) is a looker. Because what wife doesn’t want a hot maid cooking for her husband?
There are trials. Maria must make M. Joubert’s egg just so, three and a half minutes, and does. She is given impossible tasks by the Suzanne ... and enlists the other maids to help complete them. They sing a Spanish version of “Yellow Polka Dot Bikini” while doing so. It looks like fun. Maiding.
The other maids are mostly stock, nondescript, and/or played by Almodovar alums. There’s Maria’s Auntie, Concepcion (Carmen Maura, who’s been in almost every Almodovar since “Folle ... Folle ... folleme Tim!” in 1978, and who picked up a Cesar for her performance here), stocky and jovial; Dolores (Berta Ojea) is also stocky and jovial. There’s Carmen (Lola Dueñas, “Broken Embraces,” “Volver,” “Talk to Her”), a tough, cynical communist, and Teresa (Nuria Solé), a tall drink of water who winds up married to a French salon keeper. Then our Maria of the beautiful eyes.
Initially, Jean-Louis is a bit stodgy, demanding that Maria call him “Sir,” etc., and Maria has secrets, including an 8-year-old son back in Spain, and the maids have various machinations and battles with the nasty concierge, Mme. Triboulet (Annie Mercier).
We get Jean-Louis’ background in a burst while helping Maria move some of Madame’s things to the 6th floor. Apparently his grandfather started the brokerage firm, his father maintained it, and now he runs it. Apparently he’s lived his whole life in this building. Not a surprise. He seems a dull man without much imagination. At this point, for example, he hasn’t imagined sleeping with Maria.
But on the 6th floor he’s introduced to the other maids, helps them with their stopped-up toilet, and basks in their gratitude. He lets Dolores use his phone (landline, kids) to find out about her sister’s child. In this manner he becomes immersed in the lives of the maids and becomes interested in all things Spanish. “You never worry about anybody, suddenly you care about Spanish maids?” his wife asks him. He does. Fairly innocently thus far.
Eventually, despite the above comment, his wife mistakes his absences for an affair with a client, the notorious, red-haired man-eater Bettina de Brossolette (Audrey Fleurot), and she throws him out. After a pause on the steps, he returns to a room on the 6th floor and lives with the maids. He’s never had a room of his own. He luxuriates in it. It’s kind of cute, actually. The man who has much who’s never had this.
If the maids had all been dumpy, and his interest in them quirky, I might have been charmed by “Les femmes du 6ème étage.” But the maids are not all dumpy and his interest in them, at some point, is fired mostly by his interest in Maria, which he hides, poorly, behind an unsure smile and dumbfounded looks. They sleep together, of course. But they’re so nice about it. And that wife is so awful.
That’s the movie, basically: a rich, dumpy Frenchman leaves his wife to fuck his hot Spanish maid. But the movie stacks the decks so we like both of them, don’t like the wife, and get our happy ending in Spain, where Maria flees, despite another child, a daughter this time, but where Jean-Louis finds her hanging up the wash. He smiles at her, she smiles at him. The ending implies they wind up together. But what does she see in him besides money? What does he see in her besides hot? What happens when his money and her looks go? What will they have? Nice? How long before she throws that three-and-a-half minute egg in his face?
Movie Review: Clash of the Titans (2010)
WARNING: RELEASE THE SPOILERS!
Has there been a more truncated heroic cycle than “Clash of the Titans”? Our hero is a baby cast adrift, then he’s a son gazing at the horizon, then he’s an adult orphan bent on revenge, and with a mission, which takes one, two, three, four steps, after which he kills the big monster and banishes the big villain (for the sequel), and kisses the girl, and ... and that’s it. We ... are ...outta here.
This is the way we do things now. Our need to get on with the story reveals our contempt for the story. Maybe because we already know the story. “Tell us that one again, Daddy.” We’re adults now but we act like kids.
The story being told here is one of my least favorite for being so ubiquitous in the 21st century: the One; the Chosen One. It plays on our id, our early years, when the world revolved around us, when we were all chosen ones. When everything had a reason.
“You were saved for a reason,” Spyros (Pete Postlethwaite), Perseus’ foster father, tells a newly adult Perseus (Sam Worthington), as Perseus stands on the prow of the boat gazing longingly at the horizon. “And someday that reason will take you far from here.”
I’m so tired of this conceit. Should we turn it around? Hey, Fatso. There’s a reason you’re in this theater stuffing your face with an extra large tub of popcorn with extra butter and watching this crap. And someday that reason ...
Stop making no sense
In “Clash of the Titans,” which contains no Titans, the Gods create man but can’t live without man’s worship. That makes no sense. A group of humans from Argos, intent on worshipping King and Queen, tear down a statue of Zeus (Liam Neeson), invoking the wrath of Hades (Ralph Fiennes), who secretly despises Zeus. That makes no sense. After attacking the upstart Argosians, he kills, as a freebie, two innocent bystanders, Spyros and Marmara (Elizabeth McGovern), which makes no sense, but it enrages their son, a young Perseus, giving him his raison d’etre, revenge upon Hades, which he’ll forget in the second movie.
Despite this display of God power, the Argosians are determined, more than ever, to not worship the Gods, which makes no sense, and Cassiopeia (“Rome”’s Polly Walker) brags about the beauty of her daughter, Andromeda (Alexa Davalos), bringing down an even greater wrath. Hades shows up again, turns Cassiopeia to dust, disperses the Argosian soldiers, and promises to “release the Kraken,” a horrific monster, if Andromeda is not sacrificed for her mother’s effrontery. But Hades finds he can’t kill Perseus and immediately knows why: Perseus is a demi-god, the son of Zeus. He’s special.
Of course Andromeda’s father doesn’t want to sacrifice his daughter, so he sends his men, led by the stalwart Draco (Mads Mikkelsen), away from Argos, on a mission to kill the Kraken. This, too, makes no sense, since the Kraken is going to show up in a few days anyway. Why send your best men away from the city? Why not wait him out?
Right. Because “waiting him out” isn’t a story.
Zeus, half-son revealed, now has mixed feelings about the whole thing. He wants the Argosians punished, sure, but he doesn’t want to kill his half-son to do so. So he sends him a winged horse named Pegasus and an enchanted sword to protect him. But Perseus’ hatred for his absentee father is apparently greater than his hatred for the killer of his foster parents, and, initially, he refuses both gifts. He thinks he can get by without them. He’s an idiot without a personality. He’s an idiot only idiots can like.
Love? Fear? Release the Kraken!
Around this time we learn that Zeus lives off the love of man while Hades lives off their fear. So shouldn’t Hades be more powerful than Zeus? Isn’t fear more prevalent in us than love? At the least it’s worth a debate, a mention, a passing line or two. Here. Let’s trade two giant scorpions for 30 seconds of debate.
Nope. On we trudge, stupidly, to get the head of Medusa with which to beat the Kraken. Battles are engaged, soldiers fall, until we’re left with just the main dudes, the ones who have names. But all of them, even Draco, buy it in the underworld. Only Perseus, looked over by a kind of angel, Io (Gemma Artetron), who’s kind of hot, triumphs.
Of course, back in Argos, the people, led by a religious nut (Luke Treadway), are rightly worried about Zeus, Hades and the coming Kraken, so they grab Andromeda and tie her up on the cliffs above the sea, as an offering, and because it’s sexy. But at the last minute Perseus appears on Pegasus and yadda yadda. Hades appears and yadda yadda. Then Perseus and Andromeda kiss and ... Wait. He winds up with Io, not Andromeda. That makes no sense. Isn’t she a guardian angel? It’s like dating the tooth fairy.
So most everything that happens in “Clash of the Titans” is expected. The only unexpected moments are the nonsensical ones.
“The oldest stories ever told,” Io tells us in the beginning, “are written in the stars.”
Or in Hollywood.
Movie Review: Haevnen/In a Better World (2010)
Susanne Bier’s “In a Better World,” the English-language title for the Danish film “Haevnen,” which won the Oscar for best foreign language film at the 2010 Academy Awards, attempts to give a more adult answer to the dilemma Hollywood has spent 100 years exploiting: What do ordinary, law-abiding citizens do when confronted with bullies and psychopaths? How does a man face brutality without becoming brutal himself?
These films are now called vigilante films, since, in them, ordinary citizens go beyond the law to set things right (see everything from “Death Wish” to “Harry Brown”), but they were once simply called westerns. The hero that emerged, often John Wayne, didn’t have to worry about going beyond the law because there was barely a law. He also shot second. (He was eminently fair.) There was also no blood, no rape, no none of that. Hays Code.
In “Haevnen,” Elias (Markus Rygaard), buck-toothed and braces-wearing, is the picked-upon kid at his local school, whose hallways are ruled by Sofus (Simon Maagaard Holm) and his crew of toadies. They block entranceways, demand obeisance, and hurt and humiliate those they don’t like. Elias, sweet-natured, is a favorite target.
Then Christian (William Jřhnk Nielsen), Danish, but recent of London where his mother died of cancer, arrives on the scene. He’s no bigger than Elias, and both are smaller than Sofus, but he moves through life with an intense glare. The first day he scopes out the scene like a little Clint Eastwood, stands up to Sofus (for which he gets a soccer ball in the nose), and the next day, when Sofus follows Elias into the boys’ room to further pick on him, Christian follows and attacks Sofus with a bike pump and a knife, leaving him bloody and moaning on the floor. It’s like John Foster Dulles’ 1950s foreign policy of massive retaliation except in a Danish middle school.
School officials, absent or impotent for the reign of Sofus’ terror, now, of course, get involved. The knife is particularly troublesome—it’s apparently the Danish equivalent of bringing a gun to school—and parents are called and admonished; but both boys stand firm, the knife is never found, and Sofus’ reign ends. Half an hour into the film.
That itself is intriguing. In the typical vigilante film, you get your moment of revenge in the third act, not the first, and it pretty much ends the movie. Now we’re left wondering what’s going to happen next. (At the same time, it doesn’t mean we didn’t thrill to the beating of Sofus, the little shit, any less than we thrill to the revenge perpetrated against any number of cinematic bullies. First or third act, the desire for justice of a violent nature is still there.)
I suppose that’s the question of “Haevnen”: Can we have a justice that’s not violent? That’s within the law? That’s adult?
Anton (Mikael Persbrandt), the father of Elias, attempts to find out. Well, he doesn’t attempt to find out. It’s less proactive than that. He just finds out. Kind of.
Anton spends half his time as a doctor-without-borders in sub-Saharan Africa, treating the sick and the injured. The latter group, increasingly, is filled with pregnant women whose stomachs have been slit open. Why? Who could do such a thing? Turns out, the local chieftain, Big Man (Odiege Matthew), who bets compatriots on the gender of the unborn babies of passing pregnant women. Cutting them open is a way to settle the bet.
It’s in Denmark, though, that Anton finds his bully. One day, chaperoning his two boys and Christian near the docks, Morten (Toke Lars Bjarke), Elias’ younger brother, pulls away and gets into a fight with another boy over a swing. When Anton tries to break it up, the father of the second boy shows up, belligerently objects to Anton touching his son, and slaps Anton in the face several times. It’s a shocking moment—for both us and the kids. It’s also shocking for Anton, who keeps his cool but cools off his injured cheek (and injured spirit?) with a swim in the family lake at dusk.
In a better world, Anton would forget about the incident. Unfortunately, now his son thinks him a coward. So after the boys have tracked the bully, Lars (Kim Bodnia), to his workplace, Anton shows up, with boys in tow, and confronts him. Except Lars feels no shame, just maliciousness, and again slaps Anton repeatedly. It’s an interesting scene. Anton is confrontational but peaceful, and shows no fear, and questions every move Lars makes. Afterwards, outside, he claims that Lars showed himself to be a big jerk not worth anyone’s time or attention. He says Lars lost. But Christian annunciates our thoughts: “I don’t think he thinks he lost.”
This sets up the second half of the movie: Anton, in Africa, dealing with an injured Big Man, and Elias and Christian, in Denmark, scheming against Lars. In his grandfather’s garage, Christian finds old fireworks and uses their gunpowder to create a bomb with which to blow up Lars’ car.
In the end, retribution against Lars is premeditated and comes with complications (Elias is caught in the blast), while retribution against Big Man is impulsive and ... without complications? Anton treats Big Man for an infected leg for several days, but when Big Man makes a joke about a girl who dies on Anton’s operating table, Anton loses it and shoves him and his entourage—two unarmed men—into the courtyard. The two men flee, while Big Man is left helpless on the ground. The citizens gradually close in on him and tear him apart.
If there are complications for Anton’s actions, they are internal, within Anton, never external. At no point, for example, do any of Big Man’s men take revenge. Because they wanted Big Man gone, too? Who knows? It’s all left hanging. Does Anton feel less culpable about Big Man’s death because it wasn’t by his own hands? Does he feel disappointed in the citizens who tear him apart? Does he revel in the revenge, as most of us, from the safety of our theater seats, do?
Every answer “Haevnen” offers is dissatisfying. Most, one imagines, are purposefully so, but the movie is dissatisfying in other, seemingly unintentional ways. How, for example, does Christian become a 10-year-old Clint Eastwood in the first place? Solely through the death of his mother? He apparently learns his lesson—or a lesson—about his violent ways by almost causing the death of Elias. But how long does the lesson hold? And does Anton feel any culpability here? If he’d simply stood up to Lars, or called the cops on him, the boys wouldn’t have felt the need to take action themselves. What’s the better world of the title: one in which Anton stands up to Lars or one in which Lars doesn’t exist?
The cinematography is gorgeous and the acting excellent—particularly William Jřhnk Nielsen’s astonishing turn as Christian, for which he was nominated best actor at the Danish Academy Awards. But “Haevnen” still feels weak for a best foreign language film winner. We watch for two hours and no insight, great or small, comes.