three Nurbaghar Lose on Swedish national taxes. Does good neighbourhood last?
Sweden / Great Britain / Norway. 12 years. Director: Eric Pope
With: Lisa Carlhead, Gustaf Skarsgård, Tove Low, Sophia Helen
Jan TroelIt was “Utvandrerne” and “Nybyggerne”, based on Wilhelm Moberg’s four novels about Swedish (and with it: Scandinavian) immigration to America in the mid-1880s. Distinctive cinematic experiences for a few generations of Norwegians in 1971 and 1972.
Later, when the films were bundled together into a six-hour television series, the Symphony of Suffering shook some coals. NRK showed her in both 1974 and 1988.
When Eric Pope, the most insistent humanist in Norwegian film, was now gives in With this National Literary and Cinematic Shrine of the People of the Brethren, it is with a signed text Anna Bach Wigg And the Rajendram Eliasin’s sword. (The three have worked together before, on a powerful and entirely different project cinematically:Utoya July 22».).
They cut a lot of material and a number of characters from Mobergs Magnus OpusAnd I’m basically left with the Nelson couple’s story: Christina (Lisa Carlhead) and Karl Oscar (Gustav Skarsgård) and their children. They put almost all of the focus on the former.
The result is a hard, ultra-beautiful teardrop for a “big movie.” nothing less. But maybe not much more than that.
When Christina and Karl Oscar set out for the New World, it was to escape famine and religious yoke. They know they will never see their loved ones again. He must survive the voyage across the Atlantic. They should start over in a young and ambitious country, where everyone should be paid cash for absolutely everything. They don’t know the language.
What offsets them is more toil. More barren soil – just like home. Loss of traditions and roots. Cold shoulders. The homesickness is heartbreaking. Baptists.
It becomes clear that Poppe, Bache-Wiig, and Rajendram Eliassen are using Moberg’s epic novel as a Trojan horse to get us thinking about 2022.
part of our time Waterborne refugees. What they sacrifice, what they face, and the lives they still take in pursuit of a better future. Partly the under-communicated role of women in these campaigns – then as now.
In the hands of the Norwegians, this will undoubtedly be a “female story”: more Poppe, Bache-Wig and Rajendram Eliassen “Kristina” from Moberg “Utvandrarna”. This point is pushed home when a scrolling text reveals itself, dedicating it to “All Mothers Who Dare”, accompanied by a candy girl power– Pop song.
Is it a problem? If watched in isolation, no, even if the film risks exposing itself seriously to people who have a strong connection to the more complex original script (that is, half of Sweden).
Personally, I think the script goes a long way in depicting a saintly portrait of two women in its midst. Of course, the divine, theistic model of virtue Christina from Duvemåla. But also the woman who fell Ulrika, played by a pop artist tov luv (which is good).
You don’t want to appear like a cranky old man, and there’s really nothing wrong with emphasizing a woman’s sacrifice, work, life pain, and bravery. I still often think what I saw was half a story, which could have been more comprehensive. With the exception of respected businessman Carl Oscar, most of the men here are either hypocritical priests or no-struggling prostitutes.
but. The “migrants” are so well-meaning that it would be absurd to attack them harshly. Fortunately, you can avoid this, because there is no denying a great deal of good craftsmanship in this movie.
Visually, Poppe is at his most beautiful and most Terence MalikInspired by tall grass, sensual waters and aesthetic pain as far as the eye can see.
Both young and old play well in ‘Immigrants’ – although it’s a little funny that apparently everyone speaks modern Stockholm (at all And the truly). The music is appropriately great and the (few) love scenes are bloated so it lasts.
I cannot deny that I have been affected once and twice. Because the movie wants me to be, and it’s easy to lead. But “Norwegian” Utvandrerne is unlikely to be remembered as long as it remains in Swedish memory.
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