I’m not sure why I went to see this – I tend to avoid my favourite actors on chat shows, in interviews or just being themselves because I’m so often disappointed, and the myth has been shattered. I’d rather just see their work on the screen, which is why I like them in the first place.
I guess I was hoping to learn more about the Hollywood background or the making of her films, but as her daughter Isabella Rossellini comments, her personal letters, diaries and home video are all about her family. And one of the main things we learn is that she was hardly ever with her children, preferring instead to do precisely what she wanted – take whichever job she wanted, marry the men she wanted, move to the country she wanted – without appearing to realise that, as the mother of four, sometimes you can’t do exactly what you want when there are young lives reliant on you.
And this may be heresy, but Alicia Vikander didn’t do the film any favours. She was ‘playing’ Bergman, in that she was reading the letters the actress had written to narrate the events depicted. But her delivery was so monotone and without emotion that I was starting to yawn.
Had this been on BBC4 on a Saturday evening, I would have been OK with it, but I’m not convinced it deserved a theatrical release.
A version of this post appeared on http://www.filmdispenser.com/
As a rule, I avoid anything which has the tag ‘coming of age’ – I don’t want my leisure time to be filled with precocious teenagers.
And while there is an element of that with one of the friends, Mia – who takes centre stage – is fortunately more interesting than this and is played very competently by 14 year old Anna Hägglin.
As you would expect in a film featuring three teenagers, the adults in their lives are usually absent or messed up, but the fact that the young people themselves aren’t miraculously perfect helps this film a lot.
As a fan of the many Nordic Noir television series which have been screened via our telly boxes these last few years, I enjoyed this film very much. There’s the twisty turny plot, misty connections between characters, and car journeys through pine forests. It had one of the darkest plot lines, and as for tension – it came in bucket loads.
Despite, or maybe because of all this though, I can’t help but feel that it really belonged on BBC4 on a Saturday evening, rather than on a cinema screen.
Perhaps I’m just used to having my Scandinoir delivered directly to my sofa, so that venturing forth to seek it out seemed a bit over the top.
But I do have a positive reason for wanting it on my TV, too, and that’s the developing relationship between the broken, middle-aged cop and his enthusiastic, young, Asian partner. They are great together, and I’m keen to see more of them. It appears that there are some TV episodes featuring them which have been made subsequently and so I hope we’ll have access to them in the future.
Preferably on the telly.
Ties up the trilogy nicely and is a must-see if you’ve watched the previous two in the series. Unfortunately it’s half an hour too long and is easily the weakest of the three films. Needed to be more hard-edged with the dark side of Swedish politics.