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De usynlige (2008)
    
Director:
Erik Poppe |
COUNTRY
Norway |
GENRE
Drama |
INTERNATIONAL
TITLE
- |
RUNNING
TIME
115
minutes |
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Producer:
Finn Gjerdrum
Stein B. Kvae |
Screenwriter:
Harald
Rosenløw Eeg |
Review
Erik Poppe's final
third of his Oslo trilogy (following
Schpaaa and
Hawaii, Oslo)
is also his most profound and thematically ambitious. We meet the young
Jan Thomas, convicted of child-murder, as he is about to be released
from prison after serving his sentence. Through a series of abridged
flashbacks, we get some idea of his deed, and through his reintroduction
to society we get to know his fears and hopes as he finds work and
solace as a church organist. He has served his juridical sentence, but
his presence in the local community becomes an ordeal for the bereaved
parents of the crime in question.
Poppe's objective with
De usynlige is to conduct a timeless discussion of forgiveness,
atonement and loss. The scale is larger-than-life; the result a
thematically massive work which gradually loses contact with reality -
despite perceptive and well-acted portrayal of sorrow and loss
(particularly the segments from the inside of the Agnes/Jon
relationship). Poppe and screenwriter Rosenløw-Eeg go out of their way
to portray the human mechanisms at work when we deal with tragedy and
life-altering incidents, but De usynlige has very little room for
explaining the causes and mechanisms which initiated the situation in
the first place. What was Jan Thomas' original motivation? Where did his
actions stem from? Apparently, this is not part of Poppe's equation.
De usynlige
works best on a micro scale and in single scenes. There is so much power
in Poppe's skilful portrait of the redemptive quality of music and
religion as well as in the most central interpersonal scenes in the film
(such as the meeting between Strømdahl and Dyrholm or Jan Thomas' visit
to Jon). Unfortunately, the filmmakers' desire to make a complete and
definitive allegorical artwork ultimately makes the film a circular and
constructed piece with more ambition than the narrative or actors can
carry. Trine Dyrholm and Trond Espen Seim give strong and vivacious
performances, whereas Pål Sverre Valheim Hagen underplays his part into
counterproductiveness. Luckily, the blurred extra behind him at the
day-care centre balances it all with a faultless and expressionless
second of unique thespianism.
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