






 
|
 |
Tatt
av kvinnen (2007)     
Director:
Petter Næss |
COUNTRY
Norway |
GENRE
Drama/Comedy |
INTERNATIONAL
TITLE
Gone With the
Woman |
RUNNING
TIME
90
minutes |
|
Producer:
Olav Øen |
Screenwriter
(from the book by Erlend Loe):
Johan Bogaeus
Petter Næss |
Review
Erlend
Loe's trademark idiosyncratic characters are both a blessing and a curse
for this adaptation of his first novel, "Tatt av kvinnen", from 1993.
Through his authorship, the popular Norwegian writer has created a
distinct style which has amused and annoyed readers through the naïve and
minimalistic nature of his characters. In Tatt av kvinnen, Petter Næss,
Trond Fausa Aurvåg and Marian Saastad Ottesen all embrace this nature
unconditionally, and as often is in Loe's world, quite a few curious and
witty situations and reactions come out of it. Some of these will be
recognizable, while others won't, but when the humour and quirkiness has
settled, these are fairly ridiculous creatures. They have no everyday
quality to them, no way of releasing themselves from Loe's obsessive
strait jacket of a conceptual system. It's obvious he doesn't understand
women, which is basically the whole point, but it is a pity that this
inability also leads to a film about a non-existing, caricatured woman.
What
brings Tatt av kvinnen to life is Petter Næss' vision and skill as a
director. The film combines appealing visuals with a playful rhythm.
There are several segments in which Næss' filmatic flair saves
otherwise flat and insignificant moments that are meant to contain some
valuable insights or thoughts on life. How effective these are, ranges
from one extreme to another. One that most definitely doesn't work is the Peter
Stormare relation. Glenn is a plot element, not a person, ostensibly
only existing in the realm of a highly constructed sauna environment - and the horrible
fusion of Norwegian and Swedish only intensifies the problem. Even the
countless Swedish waiters working in Oslo realise that it's better to
keep their original accent.
Tatt
av kvinnen is at its best when it moves freely and balances between the
surreal and the mundane with pinpointed irony. Until we give up on the
Marianne character, it absolutely captures
moments of truth about the notorious man/woman relationship.
Unfortunately, our protagonist needs a painful amount of time to come to
the same conclusion as us. It seems that Tatt av kvinnen only
needed to have made a few different choices to have been able to leave a
completely different impression. One of them could perhaps have been to
replace Marian Saastad Ottesten.
|
|